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Relevant bibliographies by topics / Flute music – Analysis, appreciation

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Academic literature on the topic 'Flute music – Analysis, appreciation'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Flute music – Analysis, appreciation"

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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (December 31, 2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.

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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.

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Barber, Sarah B., and Mireya Olvera Sánchez. "A DIVINE WIND: THE ARTS OF DEATH AND MUSIC IN TERMINAL FORMATIVE OAXACA." Ancient Mesoamerica 23, no. 1 (2012): 9–24. http://dx.doi.org/10.1017/s0956536112000016.

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AbstractThis paper examines the social context of music and musical instruments in pre-Columbian Mesoamerica through the detailed analysis of a late Terminal Formative period (a.d.100–250) burial from the site of Yugüe in the lower Río Verde Valley of Oaxaca. The burial contained a sub-adult male interred with an incised bone flute and a plaster-backed iron-ore mirror. The Yugüe flute is the earliest reported bone flute from Mesoamerica and is incised and carved to create the bas relief image of a skeletal male figure. Based on the instrument's archaeological context and elaborate incising, we argue that the flute was categorized in pre-Columbian ontology as an animate object that actively participated in ceremonial action at Yugüe. While the nature of such ceremony remains unclear, the incising on the flute indicates that the instrument was capable of making manifest ancestral and divine forces affiliated with rain, wind, and agricultural fertility.

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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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Kusz, Veronika. "“Pure music”? Dohnányi's Passacaglia for Solo Flute." Studia Musicologica 48, no. 1-2 (March 1, 2007): 79–99. http://dx.doi.org/10.1556/smus.48.2007.1-2.5.

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Abstract After his emigration from Hungary and a longer stay in Austria and Argentina, Dohnányi settled down in Tallahassee (USA) in 1949 and lived there until his death in 1960. Besides his professorship at the Florida State University (FSU) and his continuous concert-tours in the whole country, he was also very active as a composer in this decade. The ultimate composition of this period and his life is the Passacaglia for Solo Flute (op. 48. no. 2) which is a quite unusual piece of the composer, not only because of the choice of instrument, unprecedented in the œuvre, and its theme, partly dodecaphonic, but because of its significant source-material to be found in the Kilényi-Dohnányi Collection of the FSU. This paper attempts to study this last, odd piece of Dohnányi exhaustively through the investigation of its musical and non-musical sources in parallel with its analysis.

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Wei, Zhou. "Analysis on the Charm of Music Appreciation." Music Report 2, no. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.

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Buel, Dona L., and Samuel C. Welch. "Improving Music Appreciation Class Using Cohort Analysis." General Music Today 13, no. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.

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Cinalli, Angela. "Some Additional Notes on the Ancient Side Flute." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 78–98. http://dx.doi.org/10.1163/22129758-bja10035.

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Abstract Literary, archaeological, and iconographic testimonies attest to the side flute as an instrument that, from the 4th century BC to the 3rd century AD, played its part in the Greco-Roman musical landscape. Building on the conclusions of recent studies, this contribution aims to add to the discourse some further elements regarding both the panorama that the sources allow us to draw and the structural and acoustic features of the ancient side flute. A detailed analysis of the sources sheds light on more than a name, more than one typology, more than a performative context, for an instrument whose life extended far from the bucolic cliché. Plus, the side-blown reedless headjoint is a distinctive feature of the ancient side flute, documenting an experimental journey through acoustic effectiveness that sees eye to eye with the solutions adopted by modern craftsmanship to enhance sonority and focus.

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Gontovaya, Larisa, and Svetlana Kolimbet. "Minimalism and monotimbre flute ensemble in the creativeness of G. Beeftink (on the example of the composition „Birds”)." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 114–24. http://dx.doi.org/10.33287/222039.

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The purpose of the study includes coverage of the interdependence of the technique of minimalism and the timbre of the ensemble on the example of the work of Herman Beftink, a namely the composition „Birds” for flute, flute-piccolo and alto-flute. In accordance with the purpose, the task of the study is to consider the formation of minimalism in music and its features of development, the role of software and the function of timbres in relation to the tasks in minimalism. A study of the work of modern American composer G. Beftink and the role of the flute and flute ensembles in his art. Research methods used in the writing of the article: empirical methods (description, comparison, generalization), theoretical knowledge (from abstract to concrete), analysis of musical work, observation, analogy, systematic approach. Scientific novelty. For the first time in Ukrainian musicology the composer Herman Beеftinkʼs work and his flute music were explored. Consideration of the interaction of timbres, namely the flute and its varieties, with the tasks of minimalism. Conclusions. The minimum semantic volume, the absence of any claims to its versatility in minimalism is paradoxical: the listener is immersed in the contemplation of sound ornaments and discovers their infinity and symbolism. Sound patterns can be compared with well-known in musical history sound formulas, which were associated with other styles and tasks. In this case, it’s a kind of natural symbols, referring to the endless stay in nature. The interconnection of compositional technique and monotimbre composition is a consequence of influence of the aesthetics of the soundtrack in Beeftinkʼs works and the association with the eastern identity of music and treatment of which are relieving person from fear of everything material.

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Taylor, Donald M. "Support Structures Contributing to Instrument Choice and Achievement among Texas All-State Male Flutists." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 45–60. http://dx.doi.org/10.2307/40319329.

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Abstract The purpose of this study was to examine social support structures that may contribute to instrument choice and achievement among successful high school male flutists. Participants included 18 males who earned a flute or piccolo position in a Texas All-State Band or Orchestra between 2003 and 2007. Each flutist participated in a semi-structured telephone interview that was recorded and transcribed for further analysis. Answers were coded to identify common experiences among the participants. Results demonstrated that most boys started playing the flute in conjunction with beginning band classes. Across all individuals interviewed, reasons frequently cited for choosing the flute included instrument timbre, physical appearance of the instrument y and social influences of friends who played the flute. Seventeen participants had studied with a private teacher, and most began instruction within 2 years of playing. The majority of flutists had multiple teachers throughout their years of study and participated in summer music camps. While most interviewees’ parents were not actively engaged in music making, the majority of flutists cited them as their strongest means of support. Conversely, almost every participant reported initial teasing from classmates which dissipated when they began winning competitions. While most reported knowing few other male flutists, nearly all cited professional male flutists as their favorite recording artists, including fames Galway, Jean-Pierre Rampal, and EmmanuelPahud. Almost all participants described the All-State experience as their greatest musical achievement in high school, which helped inform their future career choices.

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Arifa Hidayamastifa, Rini, and Jagar Lumbantoruan. "PEMBELAJARAN ETUDE FIFTY LITTLE FLUTE STUDIES OP25 PADA MAHASISWA INSTRUMEN FLUTE PRODI PENDIDIKAN MUSIK FBS UNP." Jurnal Sendratasik 9, no. 3 (September 1, 2020): 22. http://dx.doi.org/10.24036/jsu.v9i1.109380.

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Abstract The purpose of this study is to find out how the learning process of Etude Fifty Little Flute Studies is conducted in the flute instrument Major I course in the Music Education Study Program at FBS UniversitasNegeri Padang. This research is a descriptive analysis research by utilizing qualitative data. The implementation of Etude Fifty Little Flute Studies learning in flute instrument major I involved students of 2019 class who just took major I course which was played in 3 repertoires.The study examined the learning process of Etude Fifty Little Flute Studies Op 25 and Op 26 by looking for processes, learning experiences, and learning evaluations.Based on the results of learning conducted, Etude Fifty Little Flute Studies is very influential in the learning process.It is due to the fact that flute instrument major I studentsare still categorized as beginners and are new to the flute instruments and theoretical abilities such as using suspension, legato and staccato techniques.This is proven by students who carry out the process well and practice through the material given. Thus, these students get grades according to their processes.The relation between what is explained by the lecturer and the students theoretically and practically can be done well even though it is not that optimal because there is no direct control through face to face meeting.Keywords: Learning, Etude Fifty Little Flute Studies, Flute Instruments

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Dissertations / Theses on the topic "Flute music – Analysis, appreciation"

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Boyle, Antares. "The pattern and the fabric : complexity and ambiguity in the solo flute works of Toshio Hosokawa." Master's thesis, Sydney Conservatorium of Music, 2007. http://hdl.handle.net/2123/12647.

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Stirzaker, Kim E. (Kim Elizabeth). "Structure and Form in Two Late Works for Flute and Orchestra by Ernest Bloch (1880-1959): Suite Modale (1956) and Two Last Poems (Maybe. . .) (1958) -- a Lecture Recital, Together With Three Recitals of Selected Works of J.S. Bach, Jolivet, Mozart,and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc278196/.

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The lecture was presented on November 18, 1991. This presentation focused on the only two compositions for solo flute and orchestra by Ernest Bloch. Written during the last three years of the composer's life, the pieces are representative of his last style period. While Suite Modale is neobaroque in style, Two Last Poems is much more subjective. Together they represent a synthesis of many of the stylistic characteristics of Ernest Bloch. The musical parameters discussed included form, melody, texture, rhythm, harmony, and expressive devices.

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Leffler, Hannah. "A National Idiom Universally Understood: Brazilian Tradition and Personal Evolution in Osvaldo Lacerda's "Variações e Fuga para quinteto de sopros"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248512/.

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The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

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Gamso, Nancy M. (Nancy Margaret). "Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz, Roussel, Albinoni, Weber, Milhaud, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279129/.

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The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.

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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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李德芬 and Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.

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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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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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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.

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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.

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Books on the topic "Flute music – Analysis, appreciation"

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Tagg, Philip. Fernando the flute: Analysis of musical meaning in an Abba mega-hit. Liverpool: Institute of Popular Music, University of Liverpool, 1991.

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R, Reilly Edward, ed. On playing the flute. 2nd ed. New York: Schirmer Books, 1985.

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R, Reilly Edward, ed. On playing the flute. 2nd ed. Boston: Northeastern University Press, 2001.

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Quantz, Johann Joachim. On playing the flute. 2nd ed. London: Faber, 1985.

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Quantz, Johann Joachim. Trattato sul flauto traverso. Lucca: Libreria musicale italiana editrice, 1992.

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Quantz, Johann Joachim. Saggio di un metodo per ben sonar--. Cremona: Turris, 1992.

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Hoffer, Charles R. The understanding of music. 6th ed. Belmont, Calif: Wadsworth Pub. Co., 1989.

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The understanding of music. 5th ed. Belmont, Calif: Wadsworth Pub. Co., 1985.

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Excursions in world music. 6th ed. Upper Saddle River, N.J: Pearson, 2012.

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Films, Pacific Street, and Educational Film Center, eds. Exploring the world of music: An introduction to music from a world music perspective. 2nd ed. Dubuque, Iowa: Kendall/Hunt, 2010.

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Book chapters on the topic "Flute music – Analysis, appreciation"

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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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Sekula, Kate. "Utilizing Computer Programming to Analyze Post-Tonal Music: Contour Analysis of Four Works for Solo Flute." In Mathematics and Computation in Music, 219–30. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20603-5_23.

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Palma-Martos, María Luisa, Manuel Cuadrado-García, and Juan D. Montoro-Pons. "Breaking the Gender Gap in Rap/Hip-Hop Consumption." In Music as Intangible Cultural Heritage, 51–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_5.

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AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.

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Clark, Kate, and Amanda Markwick. "Music Suitable for One Flute." In The Renaissance Flute, 85–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.003.0007.

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Chapter 7 presents our own editions of music for one flute. Some pieces are the top lines of four-part works, while others were composed specifically for a solo instrument. One piece with diminutions is included. An introduction to each piece presents the mode and useful tips for flutists approaching these works for the first time. Each piece also includes a hexachordal analysis and text (when applicable).

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Clark, Kate, and Amanda Markwick. "Music Suitable for Four Flutes." In The Renaissance Flute, 134–53. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.003.0010.

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Chapter 10 presents our own editions (in score format) of music for four flutes. (Individual parts can be downloaded from the accompanying website.) Purely instrumental pieces, such as dances, as well as vocal pieces, such as chansons and Tenorlieder, are included. An introduction to each piece presents the mode and useful tips for flutist approaching these works for the first time. Each piece also includes a hexachordal analysis and text (when applicable).

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Clark, Kate, and Amanda Markwick. "Music Suitable for Three Flutes." In The Renaissance Flute, 118–33. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.003.0009.

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Chapter 9 presents scores of our own editions (in score format) of music for three flutes. (Individual parts can be downloaded from the accompanying website.) Some pieces are for three tenor flutes, while the others are for two tenors and one bass. Purely instrumental as well as vocal pieces are included. An introduction to each piece presents the mode and other useful tips for flutist approaching these works for the first time. Each piece also includes a hexachordal analysis and text (when applicable).

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Clark, Kate, and Amanda Markwick. "Music Suitable for Two Flutes." In The Renaissance Flute, 99–117. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.003.0008.

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Chapter 8 presents our own editions (in score format) of music for two flutes. (Individual parts can be downloaded from the accompanying website.) Many renaissance duets were intended as instructional pieces for learning the modes, but we have selected bicinia that also stand as strong performance pieces. Some pieces are for two tenor flutes, others for tenor and bass. An introduction to each piece presents the mode and useful tips for flutists approaching these works for the first time. Each piece also includes a hexachordal analysis and text (when applicable).

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Boland, Marguerite. "J. M. Beyer, String Quartet No. 2 (1933–34)." In Analytical Essays on Music by Women Composers: Concert Music, 1900–1960, 192–228. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190236984.003.0008.

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Abstract This chapter offers an analysis of String Quartet No. 2 (1936) by German-American composer Johanna Beyer (1888–1944). The analysis demonstrates Beyer’s application of the principles of melodic dissonation, theorized by Charles Seeger, to multiple levels of this four-movement work. Beyer quotes and dissonates Mozart’s famous aria “Ein Mädchen oder Weibchen” from The Magic Flute, and the analysis defines pitch motives and a structural pitch frame derived from this material that serve to unite the piece. At the same time, the analysis shows the way Beyer works with this common material to create four idiosyncratic movements that are exemplary of her unique musical imagination. Through the analysis of String Quartet No. 2, this chapter touches on Beyer’s broader interest in the experimental methods and concerns of the ultramodernist composers in the first decades of the twentieth century.

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Conference papers on the topic "Flute music – Analysis, appreciation"

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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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Kakegawa, Mayu, Ryo Komiyama, Yuko Masakura, and Masayuki Kikuchi. "Analysis of music appreciation by Kansei evaluation and brain activity." In 2012 Joint 6th Intl. Conference on Soft Computing and Intelligent Systems (SCIS) and 13th Intl. Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2012. http://dx.doi.org/10.1109/scis-isis.2012.6505407.

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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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Al-Taee, Majid A., Mohammad S. Al-Rawi, and Fadi M. Al-Ghawanmeh. "Time-frequency analysis of the Arabian flute (Nay) tone applied to automatic music transcription." In 2008 IEEE/ACS International Conference on Computer Systems and Applications (AICCSA). IEEE, 2008. http://dx.doi.org/10.1109/aiccsa.2008.4493636.

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Maarif, Rodinal, and Indrayuda. "An Analysis of Perspective Value in Bamboo Flute Music Transformation: From Bamboo Instruments to Keyboard Instruments." In Proceedings of the 1st International Conference on Education Social Sciences and Humanities (ICESSHum 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icesshum-19.2019.20.

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Xue, Ming. "Analysis on the Performing Techniques of Chinese-style Piano Music Take the adapted piano music “Flute and Drum at Sunset” of Li Yinghai as Example." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.30.

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Zhou, Ningbo. "Analysis on the Feasibility of Introducing the National Instrument Bamboo Flute into the Music Class of Primary and Secondary Schools." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.116.

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