Dissertations / Theses: 'Flute piano'

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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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Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

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Thesis (M.M.)--Bowling Green State University, 2007.
Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.

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Gotō, Yo. "Voci lontani for flute, trumpet, percussion, piano, and string quartet, critical essay and score /." connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.unt.edu/etd/all/Aug2004/goto%5Fyo/index.htm.

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Goto, Yo. "Voci Lontani for flute, trumpet, percussion, piano, and string quartet: Critical essay and score." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5555/.

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This project consists of an original composition, Voci Lontani, and a critical essay about the composition. In this piece, the idea of musical simultaneity is explored. Therefore, the piece focuses on the idea of contrast: between measured rhythms and indeterminate rhythms, between tonality and atonality, and between musics in separate tempos. In order to explore the significance of musical simultaneity, four important compositional concepts-the simultaneous juxtaposition of different musics, polyrhythmic structure, controlled indeterminacy, and quotation-are discussed. Also, several examples of twentieth-century music that use these concepts are analyzed in the essay.

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Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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Broffitt, Virginia. "The Music of Jennifer Higdon: Perspectives on the Styles and Compositional Approaches in Selected Chamber Compositions." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275656288.

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Redcay, Andrea. "Theobald Boehm and the History of the Alto Flute, Including the Facsimile Edition of His Arrangement of Beethoven's Largo From the Concerto for Piano, Op. 15, No. 1 for Alto Flute and Piano (C. 1858), With Three Recitals of Selected Works by Griffes, Telemann, Bartok, Jolivet, Gaubert and Others." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935677/.

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An historical perspective of Theobald Boehm (1794-1881) and his design of the modem alto flute. Chapters I and II discuss the development of design, playing technique and repertoire of the ancestors of the modem alto flute beginning with the Renaissance consorts detailed in the treatises of Agricola, Praetorius and Mersenne, through the Baroqueflate d'amour and its use in the music of J.S. Bach, to Boehm's alto flute design (c. 1855) and its use in early twentieth-century orchestral and chamber repertoire such as Stravinsky's Le Sacre du Printemps (1911), ending with specific aspects of contemporary alto flute design and manufacture since 1950, including the innovations of Dutch flutemaker Eva Kingma. Chapters III and IV concentrate on Boehm's mechanical and acoustical developments for the concert flute in C, the resulting modem alto flute in G, and his career as a virtuoso flutist, teacher, and composer. Chapter V is a critical commentary on Boehm's arrangement of Beethoven's Largo from the Concerto for Piano, Op. 15, No. 1 for alto flute and piano (c. 1858). Appendices A and B include the facsimile of the unpublished Largo manuscript and a list of Boehm's works for alto flute.

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

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

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Carrizo, Andrés. "Senseflash." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182377879.

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Thesis (M.M.)--Bowling Green State University, 2007.
Document formatted into pages; contains 1 score (50 p.). For flute, B♭ clarinet, violin, violoncello, percussion and piano. Includes bibliographical references.

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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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

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Shook, Hannah M. Widor Charles Marie. "An orchestration of Charles-Marie Widor's Romance (from Suite for Flute and Piano, Op. 34) /." Connect to online version, 2006. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/160.pdf.

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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.

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Wang, Jennifer. "Wind in her hair for alto flute, vibraphone, electric guitar, voice, piano, violin, violoncello, and tape /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085678411/ucin1085678411.pdf.

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Pillman, Laura 1990. "Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538733/.

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Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.

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Ruppe, Elizabeth Ambler. "Form and tonality as elements of neoclassical style in two works by Jean Francaix: Divertimento pour flute et piano (1955) and Suite pour flute seule (1963) with three recitals of selected works of Mozart, Widor, Feld, Muczynski and others." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278680/.

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The music of Jean Francaix is well known to those familiar with woodwind chamber literature. His long, successful career began in the 1930s when French composers rejected the excessively chromatic harmonies, intense emotionalism and grandiose proportions of late Romantic music. Embracing the concepts of neoclassicism, economy of means, clarity and objectivity, and a return to diatonicism and formal structures, the new "Classical" music contained the added spice of twentieth-century harmonic techniques including bitonality, modality, and quartal and quintal harmonies. Francaix has written many concertos and solos for woodwind instruments, but his enduring popularity resides in his chamber music for various combinations. His publisher for the last six decades has been B. Schott's Sohne who commissioned Francaix to write several chamber works in honor of his eightieth birthday. Two of his works for flute, Divertimento pour flute et piano and Suite pour flute seule, are known to professional flutists but not considered standards in the flute repertoire. The purpose of this paper is to call attention to the wide variety of Francaix's repertoire which is eminently suitable for concert and recital programming. The identification of formal and tonal elements in Francaix's two works for flute helps to place his prodigious output within the context of the prevailing musical and philosophical aesthetic in France of the 1920s through 1940s. An annotated list of Francaix's works with flute in a primary role is included as an appendix.

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Phillips, Nathaniel Tull. "Horologium du Futur past /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9963667.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. For flute, violin, clarinet, violoncello, piano, percussion, and tape. Includes program notes and performance instructions preceding score.

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Taher, Cecilia. "Elasticity in three compositions with flute by Boris Blacher." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/320.

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This thesis proposes a new concept of form for Boris Blacher's Divertimento for Woodwinds, Duet for Flute and Piano, and Quintet for Flute, Oboe, Violin, Viola, and Violoncello. In 1950, Blacher began to use systematically varying metric units to provide logic to the apparently arbitrary rhythm of modern music. This practice led the few scholars who have studied his compositions to concentrate on the mathematical organization of metrical units, underestimating other musical elements. This dissertation is based on the idea that it is not the mere disposition of meters, but mostly the interaction between them and other musical elements that makes the peculiar durational scheme audible, thus perceptually relevant. Following this, the technique of expansion and contraction that becomes evident in the organization of the meters is also present in the disposition of durations at other hierarchical levels and in the pitch structure. Furthermore, the mathematical metrical scheme is the foundation for a deeper universe of systematic organization. Blacher's techniques provide a unique sense of movement to his compositions, the aural effect of an "elastically developing music." In Duet and Quintet, this idea is also applied in simultaneity to the registral disposition of pitches and textural development, suggesting vertical elasticity. As a result, Blacher's late compositions suggest a replacement of the traditional concepts of form and texture with a new idea of constantly moving, elastic shape. The methodological approach of this thesis is exclusively analytical and technical, with emphasis on durational and pitch organization, form, texture, and the interaction among these aspects. The individual and comparative analysis of the three compositions reveals a consistent conception of the musical space that emphasizes its bi-dimensional quality. In the Divertimento, the unitary conception of the vertical and horizontal construction is mainly reflected in the bi-dimensional treatment of interval classes that provides coherence to the motivic structure. In Duet and Quintet, this mere idea of consistent organization of the musical materials in the horizontal and vertical dimensions of the total space becomes a unique principle of formal definition, the elastic development of the musical content itself.

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Chen, Mei-Chu, and 陳美筑. "Analytical of C. P. E. Bach: Sonata for Flute and Piano, Wq. 86. H. Büsser:“Andalucia” for Flute and Piano, Op. 86. E. Schulhoff: Sonata for Flute and Piano." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/49udw3.

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碩士
國立清華大學
音樂學系所
106
The full text is the analysis of the concert performance. Altogether divides into three chapters: the first chapter analyzes the Carl Philipp Emanuel Bach∶ Sonata for Flute and Piano in G major¸ Wq. 86; the second chapter analyzes the Henri Büsser：“Andalucia”for Flute and Piano, Op.86; the third chapter analyzes Erwin Schulhoff Sonata for Flute and Piano .This article briefly describes the composer's life, creation background and music analysis and interpretation, hoping that this paper can help readers to have a deeper research and performance practice on these works.

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Chang, Hsin-yu, and 張心瑜. "The Analysis and Comparison of “Carmen-Fantasy for Flute and Piano” and “La Traviata-Fantasy for Flute and Piano”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/f2378g.

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碩士
國立臺中教育大學
音樂學系碩士班
102
Abstract In this thesis, we mainly focus on the two famous Fantasy for flute, "Carmen" and "La Traviata ". Both of the composers capture the appealing arias in the opera, and use the variation techniques to completely show the beauty of tone and the gorgeous techniques of flute. They finally composed their own Fantasy for flute which are different from the opera. Besides, to understand the development of Fantasy, we also analyze the researches about it. The thesis is divided into six chapters. In Chapter I, we will give an introduction to the motivation, purpose, method, scope of studies or literature, and describe the structure and direction of this thesis. In Chapter II, we will display the evolution of compositional style and characteristics of Fantasy for flute in different periods. Chapter III focuses on the architecture and the analysis of Carmen Fantasy for Flute. Chapter IV explains the song structure and the analysis of La Traviata flute Fantasy. We briefly introduce the two operas and two composers. Moreover, we also analyze and research the interpretation of these two Fantasy for flute. Chapter V analyzes these two Fantasy according to the opera materials and the piano interlude and the variation technique. Then, we further discuss how the composers adapted an opera for the gorgeous and charming flute Fantasy. Finally, Chapter VI summarizes the content of each chapter and the conclusions of thesis in the hope of making a contribution to the flute performance. Key word: La Traviata, Carmen, Fantasy

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Slottow, Mackenzie. "Master's thesis recital (flute)." 2011. http://hdl.handle.net/2152/17033.

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Sonata in E major BWV 1035 / Johann Sebastian Bach -- Suite for flute and piano, op. 34 / Charles-Marie Widor -- Sonatine for flute and piano / Walter Gieseking -- Fractus III: Aerophoneme for flute and supercollider / Eli Fieldsteel.
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"Mel Bonis: Six Works for Flute and Piano." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.18008.

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abstract: The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
Dissertation/Thesis
D.M.A. Music 2013

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Jelle, Lisa A. "The flute and piccolo music of Martin Amlin: An introduction, discussion, and analyses of the Sonata for Flute and Piano; "Trio Sonatina" for flute, clarinet, and piano; and Sonata for Piccolo and Piano." Thesis, 2000. http://hdl.handle.net/1911/19514.

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The compositional style of music for flute and piccolo by Martin Amlin is examined through formal and harmonic analyses and through interviews with the composer and the musicians most closely associated with the works, flutist Leone Buyse and piccoloist Zart Dombourian-Eby. Amlin's compositional style as represented in these pieces may be described as combining characteristic twentieth-century American driving rhythms and perpetual motion, symmetry on multiple levels, and a unique blend of French use of color and phrasing. Complex rhythms and constantly-shifting meters and timbres give the music a kaleidoscopic effect. The composer's fascination with symmetry is reflected both formally and harmonically, in both the often-used arch form and the frequent use of serialism based on symmetrical tone rows. Symmetrical division of meter often produces jazz rhythms, and major and minor 7th chords are featured due to their symmetrical sound. Amlin's style of serialism appeals to many because of its unusual, almost-tonal sound. This effect is due to the structure of the rows, in which half of the intervals are perfect 4ths; many major and minor 7th chords are produced internally. This is intentional on the part of the composer, who is not so much intent on abandoning all tonality as on producing music that finds favor with both the ear and the mind. All three pieces exhibit use of the full range of the instruments, a quality that both Buyse and Dombourian-Eby mentioned as appealing to them. Yet, as in the style of the best sonatas of the repertoire, the parts are balanced; lines interweave, rise, and fall in a balanced whole. As more flutists become aware of the quality of these works, they will become a strong and vibrant staple of the body of flute and piccolo literature.

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Siegel, Merrie R. "Samuel Zyman's Concerto for Flute and Small Orchestra and Sonata for Flute and Piano." Thesis, 2000. http://hdl.handle.net/1911/19556.

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The compositional style of Samuel Zyman's two flute works, Concerto for Flute and Small Orchestra and Sonata for Flute and Piano , is examined through formal and stylistic analyses, as well as interviews with the composer and with the flutist who commissioned both works, Marisa Canales. The two Neo-Romantic works make use of clear formal structures, such as sonata allegro and rondo forms. These traditional structures are greatly expanded, mainly through the use of highly active and extended development sections. Rhythmic drive is an essential element of both of these works. These aspects, along with highly contrapuntal writing, cyclical elements, and the expansive use of melody allow for two very cohesive but complex works. Modal inflection also adds a very original and interesting musical flavor to the works.

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Huang, Shih-ting, and 黃詩婷. "Bird Calls”in the Repertoire of Solo Flute and Piano/Shih-Ting Huang flute recital." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/47001010900625095222.

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碩士
東吳大學
音樂學系
95
There are lots of works whose titles are birds’ names in flute repertoire. This thesis focuses on 3 works based on compositions of bird calls. They are：Concerto in D major（op. 10/3, “Il Gardellino”）, composed by Antonio Vivaldi（1678-1741）, Nightingale serenade for flute and piano（op.447）,composed by Wilhelm Popp（1828-1903）, and the second movement of Sonata for flute and piano“La Flûte de Pan”（Op.15）, composed by Jules Mouquet（1867-1946）. Although these three works are composed in different eras, the titles of them are all relative to birds’ names. This thesis analyzes how composers use flute to imitate bird calls. It consists of three parts: the first part begins with introduction on the repertoire, including the composers’ experiences, backgrounds and repertoire analysis. The second part summarizes bird calls of these three repertoire. The last part explains the similarities of bird calls music and the differences in their techniques of interpretations. In conclusion, this thesis points out that, by using specific performance skills, the composers imitate bird calls with flute. We hope this thesis could provide great help to the future performances of bird calls music and then inspire more excellent interpretations. Shih-Ting Huang flute recital: 1. C. Ph. E. Bach (1714-1788)：Hamburger Sonata for Flute and Basso Continuo in G Major, H564（Wq133） 2.E. Varèse (1883-1965)：Density 21.5 for Flute Solo 3.G. Hüe (1858-1948)：Fantasie for Flute and Piano 4.P. Gaubert (1879-1941)：Sonate for Flute and Piano 5.A. Copland (1900-1990)：Duo for Flute and Piano

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"A New Piano Reduction of the Nielsen Flute Concerto." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55658.

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abstract: The purpose of this research is to create a new piano reduction of Carl Nielsen’s Flute Concerto. Danish composer Carl Nielsen was born in 1865 and died in 1931. His compositional focus on orchestral writing made him renowned for his symphonies and concerti for flute and clarinet. Today his concerti are often performed by both professional musicians and students. The first published piano reduction of the Flute Concerto was issued in 1952 by the composer’s son-in law, Emil Telmányi, who was a Hungarian violinist and conductor. This reduction was published by Samfundet til Udgivelse af Dansk Musik. In 2003, as part of The Carl Nielsen Edition, Edition Wilhelm Hansen published a new revised edition of the concerto. The piano reduction of this edition was written by Danish pianist Per Salo, and is the most frequently used by pianists today. This edition contains much information pertaining to the orchestration, but this often causes the piano part to become challenging or unplayable in many passages. For collaborative pianists, playing concerti requires both the ability to imitate the orchestral sound, and to understand and show the main ideas of each passage. However, as this concerto is often performed in universities by flutists and pianists of different skill levels, creating a simplified version of the piano reduction will support many pianists by helping them to learn this music in a more approachable and easily performable context.
Dissertation/Thesis
Doctoral Dissertation Music 2019

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Lai, Yu-ling, and 賴禹伶. "Aaron Copland’s Duo for Flute and Piano: A Research and Interpretation / Yu-Ling Lai Flute Recital." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/76310837511419766905.

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碩士
東吳大學
音樂學系
95
Aaron Copland(1900~1990)is a well-known American composer, conductor, educator and musical criticism in twentieth century. He devoted his whole life to develop American music, and his music work of “Americanism” still influenced deeply and extensively from the time to present. In the trends of the times background and the courage to try various skills in composing, the creative style of Copland is highly changeable. Moreover, the most abundant period of creation is in the thirties and forties, and the main of that is simple music lexicon. This kind of work has simple structure and tuneful melody, and is widely loved by the public. The inquiring work at this thesis “Duo for Flute and Piano, 1971” is in the evening work, but it accomplishes by the most popular music style in the forties. This thesis is inquired by four parts. In the first part, it discusses Copland’s life story and his creative style of music in each period. In the second part, it discusses creative background of “Duo for Flute and Piano” by the collection and commentary of literature documents. In the third part, it analyzes the creative skills of musical composition from the rational angle. In the final part, it integrates creative background and melody analysis, and furthermore provides the method of melody annotation and propositional practice, and anticipates that it can have more substantial helps in musical performance. 「Yu-Ling Lai Flute Recital Program」 W. A. Mozart: Sonata in C major for Flute and Piano, K. 14 Sigfrid Karg-Elert: Sinfonische Kanzone für Flöte und Klavier André Jolivet: Chant de Linos pour Flûte et Piano Jean-Michel Damase: Sonate en Concert pour Flûte et Piano Astor Piazzolla: Invierno Porteno for Flute and Piano Gary Schocker: Three Dances for Two Flutes and Piano

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Cheng, I. Shih, and 史正怡. "The Expressive Nature of Feld's Sonata for Flute and Piano." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/19299708986636757756.

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Minaux, Francois. "Doctoral thesis recital (flute)." 2011. http://hdl.handle.net/2152/16458.

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Foliage op. 8 for flute and piano / Daniel Carr -- Sonata in A minor "Arpeggione" for flute and piano / Franz Schubert -- Around, awry for flute doubling picc. and organ / Ethan F. Greene -- Fantasiestucke op. 73 for alto flute and piano / Robert Schumann -- Sonata in A minor for flute and piano / Cesar Franck.
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Chiang, Ting-yi, and 江亭儀. "The Analysis and Interpretation ofFirst Sonata for Flute and Piano byBohuslav Martinu/ Ting-yi Chiang Flute Recital." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/41558394589453833085.

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碩士
東吳大學
音樂學系
98
Bohuslav Martinue (1890-1959) was a representative composer and an outstanding educationist as well in Czech in the 20th century. He grew up at the time when the history was moving from the 19th century to the 20th century during which politics, society, culture and art were all in turbulence. Such situation brought him some impact on his multiple and innovative styles or forms upon creation. Martinue lived in a foreign country and was unable to return to his hometown for most of his life due to the transitions of the environment. Therefore, his works often revealed Czech melodies and styles which reflected his homesickness. In addition, he was one of those who further developed the nationalist school in Czech following Bedich Smetana, Anton Dvorak and Leos Janacek. He was good at absorbing and fusing various musical materials. He kept trying and applying different combinations in his works. The subject matters of his works ranged from Jazz in America, Impressionism by Claude Debussy, Neoclassicism to English madrigals during the Renaissance period.“First Sonata”was completed by Martinue in America in 1945. This composition was particularly dedicated to Georges Laurent, French chief flute player of Boston Symphony Orchestra. This was the only sonata for flute among his works. In this work, Martinue fully applied his Czech style and characteristics. There were ballad rhythms and special tempos. These characteristics made the sonata to be considered an important work among those for flute in the 20th century. The author hopes that the in-depth research and analysis on this work may help achieve better interpretation closest to the original composition. It is also expected that this study may be more helpful to the people who desire to know this sonata for flute. 〈Ting-yi Chiang Flute Recital〉 Beethoven: Sonate in F Major op.17 for flute and piano Hindemith: Sonate for flute and piano Reinecke: Ballade op.288 Piazzolla : Histoire du Tango pour flute et piano

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Wang, Shang-Fang, and 王上芳. "The Analysis and Interpretation of Mouquet’s Sonata for Flute and Piano, “La Flute de Pan” , Op.15." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/00809634438401536633.

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Su, Allie Yuying. "Doctoral thesis recital (collaborative piano)." 2010. http://hdl.handle.net/2152/11600.

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7 variations on "Bei Mannern, welche Liebe fuhlen" from Die Zauberflote, WoO 46 / Ludwig van Beethoven -- Poeme elegiaque, op.12 / Eugene Ysaye -- Marchenbilder, op.113 / Robert Schumann -- Sonata, op.23 / Lowell Liebermann
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Barkoskie, Alvez Theodore. "Rasgueado for flute, clarinet in Bb, violin, cello, percussion and piano." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4822.

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"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello.
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Tsai, Wei-Ko, and 蔡維格. "A Study of Darious Milhaud’s Flute and Piano Sonatina, Opus 76." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/17782538357036405200.

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碩士
國立中山大學
音樂學系研究所
103
Darious Milhaud (1892-1974) was a French composer who is also known as Les Six and one of important representatives of Neoclassicism. He received his music education from Paris Conservatoire. His diversity of music styles are influenced by traveling many countries through World War I and World War II. Milhaud composed Flute and Piano Sonatina, Opus 76 in 1922. In this time, right after World War I, which impacted by different music styles from diverse places. The piece shows Milhaud’s jazz music style and also influenced by Late Romantic Music. This study is divided into four chapters. The first chapter mainly focuses on Milhaud’s life and background. The second chapter is concerned with Milhaud talk about his own works and his music style. The third chapter is about the analysis of the melody of the composition. The fourth chapter will present the Musical interpretation and skill of Flute and Piano Sonatina, Opus 76.

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Wang, Bing-Cheng, and 王稟程. "Analysis and Interpretation of Francis Poulenc's Sonata for Flute and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/69696299060878563744.

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碩士
國立臺灣藝術大學
音樂學系
99
This dissertation contains five chapters. The first chapter displays the frame and the aspect of the research by revealing the purpose of selecting the topic, the range of the study, and the methods used to complete the dissertation. The second chapter introduces the composer, Francis Poulenc (1899-1963) who was active in the twentieth century. Poulenc is a representative of French Neoclassicism. His most famous compositions are the chamber music. The Sonata for Flute and Piano is one of his well-known creation which is also a very important repertoire of flutes. Moreover, the chapter explains the influences of society and environment upon the music style and the composers. The third chapter includes two parts. The first part shows the background of The Sonata for Flute and Piano. The second part compares the differences between various editions of the scores, and also analyzes the factors that affect the performance. The forth chapter clarifies the theme, the characteristics of The Sonata for Flute and Piano, the connection of distinct performing ways of interpretation, and the suggestions of performing from the author of the dissertation. In the final chapter the author discusses the impression on the composition and his conclusion for the readers’ reference.

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Lee, Tzu-Jung, and 李姿蓉. "A Study of Liebermann’s Sonata for Flute and Piano Op. 23." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80227659921135294253.

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碩士
國立臺南藝術大學
鋼琴伴奏合作藝術研究所
99
Lowell Liebermann, born in 1961, is one of the most active and sought after composers in the United States. Over the recent years, there are researches on many of his compositions gradually. The Flute Sonata, Op. 23 is his first composition for flute and piano. It consists of Libermann’s typical and traditional writings in terms of musical structures, which are also integrated with modern techniques. The objective of this thesis is to better understand Libermann’s compositional philosophy. This thesis is organized as follows: Chapter 1 introduces Op. 23 and the basic contents of this paper in general. Chapter 2, we will discuss about Libermann’s life and his specific compositional methods to further understand the composer’s writing styles. Chapter 3 is unfolded to understand the flute sonata and its compositional background, followed by the cross-analyses of musical structure, thematic material and tonal usage of the work. Textural comparison and discussion on Libermann’s compositional method upon the sonata will be made. The performing technique of the flute and piano, as well as the interpretation and other performance-related issues of the work will be explored from an artistic point of view in final section. Then the conclusion will be made in Chapter 4.

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Chen, Yu Han, and 陳毓涵. "A Study of Flute and Piano , Op.94 by Sergei Prokofiev." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/33524494658558206222.

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Urase, Nanako. "Master's thesis recital (collaborative piano)." 2009. http://hdl.handle.net/2152/11625.

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Duo concertante pour clarinette et piano / Darius Milhaud -- Suite paysanne hongroise for flute and piano / Bela Bartok -- Danse espagnole / Fritz Kreisler -- Jurame / Maria Grever -- Sonata for violin and piano in A minor, op.23 / Ludwig van Beethoven -- Marche miniature viennoise ; Schon Rosmarin / Fritz Kreisler -- Dein ist mein ganzes Herz / Franz Lehar
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Ming, Huang Chun, and 黃俊銘. "The Analysis and Interpretation of Frank Martin Ballade for Flute and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/64762280811386874714.

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碩士
輔仁大學
音樂研究所
99
Martin (Frank Martin, 1890-1974) was an important composer in the 20th century. Besides composing, simultaneously he was also a pianist and a harpsichordist. Although he was Swiss, Martin also set his foot in France, Holland and Germany. Such experience presented diversified and integrable creation techniques in Martin's works. Ballade for Flute and Piano is the work which is quite popular in the flute concert programs. Although he utilized the brief musical forms, the rhythmic motives and the speed changes, the entire piece presents the dramatic tensity. This piece has two kinds of different accompaniment editions. One was completed in 1939- the flute and piano's edition, another edition was arranged for string orchestra and piano's in 1947. This research was based on the former edition, discussed its music analysis and the performance interpretation. The music in the 20th century broke free of shackles of the tonality and the musical form, the author made an integrable research by referring to the specialized books- the 20th century music theory and voice materials, and collected the information of the growth background and history of the composer etc. At the end, the author summed up and analyzed the results of the music analysis and the performance interpretation.

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Li, An-Chun, and 李安鈞. "A Research and Interpretation ofPhilippe Gaubert’s Troisieme Sonate for Flute and Piano." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/84004686270458736992.

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碩士
東吳大學
音樂學系
100
When talking about Philippe Gaubert (1879-1941), people tend to see him as a composer. However, he reached the climax of his musical career as a conductor. Even prior to that, Gaubert kicked start his musical career as a flutist. Besides that, his contributions to flute performing, flute teaching and composing, especially his creations of flute pieces are certainly not negligible. This thesis aims to probe into Gaubert’s “Troisieme Sonate for Flute and Piano”, which he created for both flute and piano. The thesis includes five chapters. The first chapter is the introduction, which tells about the motives, goals, ambitions and methods, as well as the documentation. The second chapter is the composer’s biography. Descriptions of the composer’s success in three aspects are described. The third and fourth chapters are the theory and practice of this piece. These two chapters include the analysis of the piece and the interpretation of it.

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Li, Ruei-Ying, and 李瑞瑩. "A Study and Analysis on Jindřich Feld’s Sonata for Flute and Piano." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4z32rz.

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碩士
國立中山大學
音樂學系研究所
102
Jindřich Feld is one of 20th-century’s well-known Czech composers of classic music, and his compositions are recognized to have tonally based on harmonies, clarity of form, strong rhythmic pulsation and instrumental virtuosity. His work, “Sonata for flute and piano” was a masterpiece completed in 1957, in a clear-cut musical form with distinct rhymes, and instrumental virtuosity. This work was appraised as the best flute composition in the twenty century by National Flute Society in 2000, which has been a very popular choice for flute performance. This essay is going to discuss this flute sonata in three parts: First part is to discuss the composer’s biography and his three major creation periods and his flute compositions; second part is to have an in-depth analysis on his works; and the third part is to combine the contemporary flute players’ reviews on the flute works in the areas of performance, learning and teaching materials, and objective conclusions on flute musical expression as to provide further advice.

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LIAO, WEN-HSUAN, and 廖文瑄. "Analysis and Interpretation of Sonata for Flute and Piano by Otar Taktakishvili." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/x948qq.

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碩士
國立臺灣藝術大學
音樂學系
105
Otar Taktakishvili （1924-1989）is a composer and conductor the former Georgian Soviet Socialist Republic. He devoted his life to the revitalization of Georgian musical heritage and musical education. Due to this, he contributed greatly to the development of Georgian ethnic music. This dissertation examines one of the most renowned pieces written by Taktakishvili— the “Sonata for Flute and Piano.” The three-movement work contains many elements of folk songs. The first movement is in classical sonata form. It features evocative and melodic lines that express the motivation behind this piece. The second movement is in the A-B-A form. Intense emotions are embodied in the melodies within this movement. The third movement is a Rondo scherzo. It contains the elements of the former and yet is ingeniously manipulated in rhythm to create an ambiance different from that of the previous two movements. The composer has excelled in his adroit handling of the musical register. The timbre of his musical output emphasizes the contrasts between the movements and leads the music to its crescendo. This dissertation consists of five chapters. Chapter 1 is an overview of the study. Chapter 2 introduces the cultural background, the life, and the compositional style of Otar Taktakishvili. Chapter 3 presents an analysis of his most celebrated Sonata in terms of its structure, rhythm, melody, tonality, and harmony. Chapter 4 presents some suggestions based on the analysis done in Chapter 3. Chapter 5 concludes the dissertation.

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Dissertations / Theses on the topic 'Flute piano'

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