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Relevant bibliographies by topics / Flute piano

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Journal articles
Dissertations / Theses
Books
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Academic literature on the topic 'Flute piano'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Flute piano"

1

Backus, Joan, Denis Bedard, Denis Gougeon, and Francois Morel. "Sonate pour flute et piano (1984)." Notes 51, no. 2 (December 1994): 757. http://dx.doi.org/10.2307/898917.

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Lee, Shinuh. "Space for Flute, Clarinet and Piano." Musical Times 134, no. 1800 (February 1993): 1. http://dx.doi.org/10.2307/1002429.

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Krusenstjerna, Mary, Joaquin Rodrigo, and James Galway. "Concierto pastoral; For Flute and Orchestra; Reduction for Flute and Piano." Notes 43, no. 4 (June 1987): 929. http://dx.doi.org/10.2307/898185.

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Whittall, Arnold, Ahmed Essyad, Pierre-Yves Artaud, Emmanuel Strosser, Ciiris Dencii, and Laura Chislett. "Le cycle de l'eau for Flute and Piano." Musical Times 134, no. 1810 (December 1993): 716. http://dx.doi.org/10.2307/1002950.

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Tannenbaum, Peter, Claude Vivier, Paul Gerrits, and Marie Levesque. "Paramirabo [For] Flute, Violin, Cello and Piano (1978)." Notes 51, no. 3 (March 1995): 1145. http://dx.doi.org/10.2307/899348.

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Mikolon, Anna. "Piano and chamber works by Jerzy Gablenz (1888-1937)." Notes Muzyczny 2, no. 10 (December 20, 2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.

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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.

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Üstün, Emre, and Burcu Ozer. "Effects of piano accompaniment on instrument training habits and performance self-efficacy belief in flute education." Cypriot Journal of Educational Sciences 15, no. 3 (June 29, 2020): 412–22. http://dx.doi.org/10.18844/cjes.v15i3.4906.

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Education methods to be used in the emotional, mental and psychological development of instrument education are of great importance in terms of education process. In this context, the training habits and self-efficacy developments of the students with their instruments can be supported by the accompaniment education process, thus increasing the performance of the instruments. In this context, an experimental method was used in the research by using piano accompaniment training practice, individual instrument training habits and instrument performance self-efficacy belief questionnaires. Pre-test-post-test pattern of this method was preferred. The study was carried out with 9 students who studied flute in Nevsehir Hacı Bektas Veli University music department. After the experiment process, the scores of the groups were reached by using T-test. As a result of the research, it was revealed that the application of piano accompaniment in flute education has a positive effect on all sub-dimensions of both questionnaires. In addition, it was determined that students use time in a disciplined and productive way, develop themselves in terms of musicality, see themselves more adequate with the positive progress of the psychological effects of this development, and increase their love for their instrument and desire to work. Keywords: Instrument education, flute education, piano accompaniment, training habits, self-efficacy developments;

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Krusenstjerna, Mary, Francis-Paul Demillac, and Edvard Fliflet Braein. "Concertino; pour flute et orchestre a cordes. Reduction pour flute et piano par l'auteur." Notes 42, no. 1 (September 1985): 158. http://dx.doi.org/10.2307/898272.

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Vriend, Jan. "Heterostase. Trio for Flute, Bassclarinet and Piano 1980/81." Interface 16, no. 1-2 (January 1987): 97–111. http://dx.doi.org/10.1080/09298218708570490.

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Truelove. "Transformations for Flute, B♭ Clarinet, Violin, and Piano." Perspectives of New Music 58, no. 1 (2020): 245. http://dx.doi.org/10.7757/persnewmusi.58.1.0245.

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Dissertations / Theses on the topic "Flute piano"

1

Flesher, Eric. "Wandering rocks : for flute, clarinet, violin, cello and piano /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11331.

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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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Walker, Julee Kim. "James Wintle's Northwest Miniatures for Flute, Trumpet and Piano (1998): a Performance Guide." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271914/.

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James Wintle's, Northwest Miniatures for flute, trumpet and piano is a unique work in the chamber music repertoire. In addition, the use of auxiliary instruments makes this piece a rarity in the flute and trumpet chamber music repertoire. There are a limited number of resources presently available to performers regarding Northwest Miniatures.This dissertation provides a pedagogical performance guide addressing the inherent challenges for the flutist and this instrumentation and serves as a new resource for performers and scholars of this work. It provides a performance analysis of the piece along with pertinent pedagogical information and exercises to assist the flutist. Insight from the composer on how to address these challenges is also included. Because there are a limited number of scholarly resources available on the subject of flute and trumpet chamber music, this dissertation is a significant contribution to this genre of repertoire.

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Sharp, Barry Shelton. "Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

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Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work involves two or more players of either ilk. In reference to the work presented here, Sizhu is a metaphor for the western instruments (flute and clarinet as “bamboo,” and violin and cello as “silk”) that are employed within the piece. It also refers to my use of a Chinese melody in the compositional process. The song, Er Quan Ying Yue (The Moon Reflected In Second Spring), was composed and performed regularly on the streets by the blind erhu player A Bing. The song has been fragmented, stretched, and varied to the point of near inscrutability, though it becomes more comprehensible following the mid-point. It inspires both structural and local events. The work also employs aspects of the spectral style. The first section is a slow distortion and transformation of the A harmonic spectrum; specific partials are emphasized as the spectrum expands and contracts. Additionally, fragments of the Chinese melody appear within the confines of each specific harmonic structure. The second part completely diverges utilizing assimilated pentatonic scale permutations. Finally, the third section synthesizes these two elements of musical material within the piece as the instruments morendo into silence.

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Gimenes, Marilia Gabriela do Nascimento. "Osvaldo Lacerda’s Sonata for Flute and Piano (1959): A Performance Guide with Historical Background of Brazilian Genres Embolada, Serestra, and Baião." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177200/.

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Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.

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Covey, Richard. ""Songs on the Waves" : a composition for flute, clarinet, trumpet, trombone and piano." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13549.

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“Songs on the Waves” is a 20 – 21 minute chamber work for flute, clarinet, trumpet, trombone and piano. Each of the four movements draws upon a different specific Canadian maritime folksong, and uses different elements of the traditional music to create its linear, harmonic and textural components. In some instances, the folksongs also inspire the form of the movements, as well as the constituent large and small-scale musical structures. Primarily, the movements seek to capture the essence of the poetic expression found in the folksongs. This is achieved through compositional choices regarding form, harmonic language, gesture, instrumentation, and the integration of the traditional materials into each movement. The result is a unique piece of art music that adds to the tradition of folksong-inspired works in the contemporary literature.

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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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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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Edwards, Peter Ivan Edwards Peter Ivan. "Two explorations in musical objects /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170275.

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Thesis (Ph. D.)--University of California, San Diego, 2005.
Includes 2 compositions: Puer natus est nobis (zu irgendeiner Zeit) for full orchestra, and Annicha, for flute, clarinet, and piano. Vita. Includes audio reel tape of compositions (analog, stereo., 7 1/2 ips : 7 in.).

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Quiroga, Martin. "Concerto Grosso No. 1." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22747.

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This concerto is the composer’s conversation with the past. In four movements, each one embodies a traditional musical form. The work is a continually transforming kaleidoscope of relentless virtuosity, fanciful flights of harmony and melody, and unapologetic shifts in timbre and texture. Although conceived in four separate movements, the entire work is without intervening pauses. The concerto grosso is scored for flute, violin, piano, and string orchestra, and is approximately twenty-five minutes in duration.

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Books on the topic "Flute piano"

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Bédard, Denis. Sonate, flûte et piano =: Flute and piano = Flöte und Klavier. Saint-Nicolas, Qué., Canada: Doberman-Yppan, 1988.

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Arthur, Honegger. Romance pour flûte et piano =: For flute and piano. Paris: G. Billaudot, 1998.

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Françaix, Jean. Sonate pour flûte et piano =: Für Flöte und Klavier = for flute and piano (1996). Mainz: Schott, 1997.

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4

Smit, Leo. Flute of wonder: For flute and piano. Bryn Mawr, Pa: T. Presser, 1991.

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Liebermann, Lowell. Sonata for flute and piano. Bryn Mawr, PA: T. Presser, 1988.

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Muczynski, Robert. Moments: For flute and piano. Bryn Mawr, Pa: T. Presser, 1993.

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Sierra, Roberto. Eros: For flute & piano (1996). New York, NY: Subito Music, 1996.

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Field, Corey. Aria for flute and piano. [U.S.]: Helicon Music, 1990.

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Biscardi, Chester. Traverso: For flute and piano. Bryn Mawr, Pa: Merion Music, 1987.

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Smith, Stuart Saunders. Flight: For flute and piano. Baltimore, MD: Smith Publications, 1990.

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Book chapters on the topic "Flute piano"

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"4. Independent Compositions: Works for Piano and Flute." In A Wayfaring Stranger, 91–117. University of California Press, 2020. http://dx.doi.org/10.1525/9780520972261-009.

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Heyman, Barbara B. "Lincoln Center Commissions." In Samuel Barber, 451–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0017.

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For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.

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Miller, Sue. "Introduction." In Improvising Sabor, 3–26. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832153.003.0001.

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This chapter offers an overview of the book’s content, terms, and the author’s methods of research and analysis. Central to this research is an examination of “Latin” performance aesthetics using the Cuban charanga format (flute, violins, timbales, congas, güiro, piano, bass, and vocals), as the main case study. Here the concept of sabor in performance is explored and interrogated and the book’s main themes are therefore sabor, cubanía, and Cuban dance music performance aesthetics in the context of New York. The introduction concludes with a chapter outline. Some chapters in the book provide historical and ethnographic detail and a focus on musical arrangement, style, and performance aesthetics; others draw on these contextual and stylistic matters to inform more detailed musical analysis of improvised solos.

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Miller, Sue. "Charanga or Pachanga?" In Improvising Sabor, 125–43. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832153.003.0006.

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In this chapter the issue of Cuban models and cultural appropriation is tackled and then evaluated further in chapter 6 in relation to innovation within the típico style. To this day, in New York there remains some confusion between charanga (the name for the line-up of flute, violins, piano, bass, timbales, congas, güiro, and singers) and pachanga (a contested musical style and dance), a confusion which has its origins in this early 1960s period. Often this confusion is compounded by discussion of the charanga feel (referred to as ‘charanga style’ or ‘ritmo’) which has then been mistaken for a genre-based style rather than a style of playing. There are also contradictory accounts of the pachanga dance, and the origins of the New York-specific pachanga dance are examined here.

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Upitis, Rena. "Performance." In This Too is Music, 59–68. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0006.

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This chapter introduces the many ways of experiencing live performance in school settings, with special emphasis on one of the main performance venues that was developed at the school where the activities described in this book took place. The school’s short, weekly “recess concerts” featured a variety of works, including guest performances by vocalists, flautists, and a French horn player from the community. Children played recorders, Orff instruments, piano, and flute, and they sang and narrated computer compositions, featuring both their own compositions and other repertoire. In emulating concert-going behavior outside of school, children were required neither to attend nor to perform. The role of audience members, as both supportive and critical, is also discussed in terms of creating a culture for children’s compositions. The nature of an informed audience, with ways of fostering such an audience through classroom interactions, is a construct that is woven throughout the chapter.

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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer at the End." In Madeleine Dring, 205–54. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0008.

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The letters sent to American composer and pianist Eugene Hemmer allow Dring to speak in her own voice for the first time since the early diaries, documents that allow a glimpse into her musical as well as her personal life. There is a brief discussion of The Florida International Music Festival, which featured the US premiere of her most popular instrumental composition, the Trio for Flute, Oboe, and Piano, a work which provides a splendid example of her later musical style. Other works that are discussed include The Real Princess, a ballet written for Mari Bicknell’s Cambridge Ballet Workshop, and four song cycles: Dedications, Love and Time, Five Betjeman Songs, and Four Night Songs. Also documented are the first professional recordings of her compositions and the spiritual journey she undertook in her last years, the latter illustrated by talks that she gave at the Centre for Spiritual and Psychological Studies. Finally, her sudden death from a brain aneurysm is related through letters of Roger Lord and other documents, followed by her memorial service and concerts in her honor at the RCM.

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"Princess Paolina Borghese – Seguito de Ser Marcantonio – Mazzetto di Fiori – Sacerdotessa d’Irminsul – Duos, trios, and quartets for piano, flute, oboe, and bassoon." In Giovanni Pacini, 15–20. 3rd Party UK, 2018. http://dx.doi.org/10.2307/j.ctv1zcm3h1.8.

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Conference papers on the topic "Flute piano"

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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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