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Relevant bibliographies by topics / Music Flute music

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Academic literature on the topic 'Music Flute music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Music Flute music"

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Burns, Cecilia E. "Therapeutic Uses of the Flute Within Music Therapy Practice." Music Therapy Perspectives 37, no. 2 (2019): 169–75. http://dx.doi.org/10.1093/mtp/miz003.

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AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an instrument within a music therapy setting more frequently. Results showed that 42.4% of the 387 respondents were actively using flute music in some way within music therapy sessions while 67.8% of respondents reported using flute music at some point in the past. Flute-playing music therapists reported using flutes more frequently in a music therapy context than music therapists who did not study flute as a primary instrument. It appears that the flute is a viable instrument for music therapy practice.

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

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

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

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Laksmidewi, Anak Agung Ayu Putri, Ni Putu Ayu Putri Mahadewi, I. Made Oka Adnyana, and I. Putu Eka Widyadharma. "Instrumental Balinese Flute Music Therapy Improves Cognitive Function and Serum Dopamine Level in the Elderly Population of West Denpasar Primary Health Care Center." Open Access Macedonian Journal of Medical Sciences 7, no. 4 (February 20, 2019): 553–58. http://dx.doi.org/10.3889/oamjms.2019.116.

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BACKGROUND: Musical artwork using Balinese flutes made from bamboo (timing buluh) by Agus Teja Sentosa, S.Sn is a combination of music played with flute as the main instrument which contains certain components resembling music therapy such as in western classical music by Antonio Lucio Vivaldi. AIM: This study aims to determine the improvement of cognitive function and increase in serum dopamine in the elderly after listening to music with Balinese flute as the main instrument. METHOD: The current study allocated 18 subjects in the control group listened to western classical music by Antonio Lucio Vivaldi, while 18 subjects in the intervention group listened to western classical music and music from Balinese flute as the main instrument by Agus Teja Sentosa, S.Sn. MoCA-Ina assessment and examination of serum dopamine levels were carried out initially and 21 days after listening to music intervention. RESULTS: The mean increase in cognitive function score was higher in the intervention group (5.22; p < 0.001) than in the control group (4.67; p < 0.001), this increase was not statistically significant with a value of p = 0.562 (p > 0.005). The mean increase in dopamine levels in the control group (3.60) was greater than in the treatment group (3.56), but the mean increase was not statistically significant (p = 0.085). CONCLUSION: There was a significant relationship between listening to the main instrumental Balinese flute music and the improvement of cognitive function, especially in the memory domain in all study subjects, but the mean increase in cognitive function and serum dopamine level did not reach statistical significance.

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Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (1996): 225–63. http://dx.doi.org/10.2307/831990.

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Three instruments attributed to "Hotteterre" are considered the earliest baroque flutes. But two of these, once in the collection of César Charles Snoeck, prove to be copies, made at different times in the nineteenth century in La Couture-Boussey, Normandy. These, and other replicas made for the Brussels Conservatory and Dayton C. Miller collections, have fostered the growing myth of the "Hotteterre flute." Recently discovered flutes by Richard Haka and others argue against the presumption that the baroque flute was a sudden invention. New and wider studies of seventeenth-century woodwind instruments throughout Europe are beginning to indicate that the flute underwent a process of change far more complex than previously thought.

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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.

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

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

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

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

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Dissertations / Theses on the topic "Music Flute music"

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Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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Michell, Paul. "Twentieth century Czechoslovakian flute music /." Title page, abstract and table of contents only, 1994. http://web4.library.adelaide.edu.au/theses/09MUM/09mumm623.pdf.

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Gill, Frances. "Flute Lines: Experiencing Reconstructions Concerning Music." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27479.

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This study elevates the importance of experience, the senses and tacit knowledge in relation to archaeology with a focus on music. With this I take up a thread drawing on theoretical aspects of Polanyi’s ‘Tacit Dimension’ and ‘Ingold’s Lines’. I review paradigms in experimental archaeology and music archaeology, and the subject of reconstruction in both. My case study is of four individuals, whose reconstruction models are connected to artefacts perceived as flutes in the archaeological record and/or notions of prehistoric flutes. Combining the way in which we learn by understanding others’ experiences through gesture and experience as data, my work examines these ideas in relation to wanting to find out about these flute-making people, and how their work is related to the canon of archaeology to which one might expect that it belongs, and if we can call this a tradition. What I found was that the praxis is complex and far reaching and stretches into various ontologies through philosophy, religion, emotionalism, intellectualism, symbolism, music, tradition, imagination, experience, sensation and identity, where interrelations of the past, present and future are very evident. I finally consider archaeology as an art which reveals parallels between archaeology itself and music. Paradigms in archaeologies in 2013 do not effectively support this praxis of flute making despite contextual experimentation showing welcoming promise for future change.

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Bethea, Stephanie. "The flute music of Carl Reinecke /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/11434.

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Petterson, Jill. "Extended flute techniques in three culturally different solo flute pieces." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12652.

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Includes bibliographical references.
Extended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.

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Davis, John Edward 1954. "The extended alto flute: The history and development of the alto flute, with a study of modern alto flute design and its effect on extended techniques in alto flute repertoire and pedagogical materials." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288758.

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The purpose of this document is to trace the origin of the modern alto flute from its beginning through Theobald Boehm's design, compare the designs and acoustical qualities of modern alto and c-flutes; identify the various types of extended techniques found in contemporary alto and c-flute repertoire with attention as to how the realizion of these techniques may differ for alto and c-flute; and survey representative works for alto flute that incorporate extended techniques. Chapter I follows the development of larger flutes from examples found in Renaissance-period sources up to the early nineteenth century. Chapters II and III discuss Boehm's design innovations, identify specific parts of alto flute design that distinguish it from the c-flute, in in aspects such as air column diameter and volume, tone hole location and diameter, and head joint design. Chapters IV through VII investigate the origins of extended techniques on alto and c-flute and include explanation of various monophonic, microtonal and multiphonic techniques, and identify differences between alto and c-flute responses in these areas. Chapter VIII examines representative solo and chamber works for alto flute that incorporate extended techniques, with descriptions of the techniques and a grading system that rates these works on their level of extended technique difficulty. Three appendices are included: Appendix A is a quarter-tone fingering chart for the alto flute; Appendix B is a listing of alto flute multiphonic fingerings: Appendix C is a listing of descriptive notes for the multiphonics in Appendix B.

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

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

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

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CHANDLER, BETH E. "The “Arcadian” Flute: Late Style in Carl Nielsen’s Works for Flute." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085004413.

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

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Books on the topic "Music Flute music"

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Skilling, Raymond. Cycloïdes: Flûte seule = solo flute = Flöte solo. Saint-Nicolas, Québec: Doberman, 1985.

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Nyfenger, Thomas. Music and the flute. Guilford, CT (159 Shore Drive, Guilford, CT 06437): T. Nyfenger, 1986.

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Nyfenger, Thomas. Music and the flute. Guilford, Ct: T. Nyfenger, 1986., 1986.

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Munster, Peter van. Repertoire catalogue: Piccolo, alto flute, bass flute. Machiavelli Roma: Riverberi Sonori, 2004.

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Munster, Peter van. Repertoire catalogue: Piccolo, alto flute bass flute : including ca. 900 works for flute choir or flute orchestra. Roma: Riverberi sonori, 2004.

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Library, National Flute Association (U S. ). Music. Music library catalog. 5th ed. [Tucson, AZ: The Association, 1989.

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Bruderhans, Zdeněk. Music, tectonics, and flute playing. Wilhelmshaven: Florian Noetzel, Heinrichshofen Books, 1997.

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Telemann, Georg Philipp. Fantasien für Flöte solo =: Fantasies for flute solo. Wien: Wiener Urtext Edition, 1999.

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Clardy, Mary Karen. Classic duets for flute. Wien: Universal Edition, 1997.

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Kaufman, Fredrick. Meditation for a lonely flute: For solo flute. Bryn Mawr, Pa: Merion Music, 1987.

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Book chapters on the topic "Music Flute music"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Flute." In The Teaching of Instrumental Music, 207–20. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-16.

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Wallrup, Erik. "The tune of the magic flute." In Music as Atmosphere, 202–17. [1.] | New York : Routledge, 2019. | Series: Ambiances, atmospheres and sensory experiences of spaces: Routledge, 2019. http://dx.doi.org/10.4324/9780815358718-11.

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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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Habbestad, Bjørnar. "No Flute Is an Island, Entire of Itself. Transgressing Performers, Instruments and Instrumentality in Contemporary Music." In Musical Instruments in the 21st Century, 315–25. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_20.

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Schmitt-Weidmann, Karolin. "4. »Mit letztem Atem…« Körperliche Grenzerfahrungen am Beispiel von »(t)air(e)« für Flöte solo (1980/1983) von Heinz Holliger." In Der Körper als Vermittler zwischen Musik und (all)täglicher Lebenswelt, 187–99. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839458457-025.

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"flute." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.04191.

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Clark, Kate, and Amanda Markwick. "Introduction to the Music." In The Renaissance Flute, 75–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.003.0006.

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Chapter 6 is a guide to finding the renaissance music available for flutists to play. This chapter introduces the most common vocal and instrumental genres flutists will encounter, and offers practical advice on where to find music in both online resources and libraries. It also identifies good editions for purchase. Finally, we explain the editorial choices we made in the preparation of our editions in Chapters 7–10.

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Clark, Kate, and Amanda Markwick. "Cadences in Renaissance Music." In The Renaissance Flute, 179–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.003.0014.

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In this chapter, we briefly compare and contrast the cadences of the renaissance with those of later periods. After discussing various types of cadences, including “cadenze fuggite” (evaded cadences) common in renaissance music, we use examples from the pieces presented in Chapters 7–10 to show how a musician can give more structure and meaning to the music by highlighting these musical punctuation marks.

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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 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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Conference papers on the topic "Music Flute music"

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Zhao, Fenghua, Minghua Li, Caijie Zhou, Guangzeng Chen, and Yunjiang Lou. "Music Melody Extraction Algorithm for Flute Robot." In 2020 IEEE International Conference on Real-time Computing and Robotics (RCAR). IEEE, 2020. http://dx.doi.org/10.1109/rcar49640.2020.9303271.

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Liu, Hongfei. "Study on Wei Shijian Cucurbit Flute Music." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.52.

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Liu, Hongfei. "Historical Development Overview on Cucurbit Flute Music." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.26.

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Worland, Randy. "Flute measurements in a Physics of Music lab." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4895818.

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Ashtamoorthy, Anand, Pranav Prasad, Shashank Dhar, and Deepu Vijayasenan. "Frequency Contour Modeling to Synthesize Natural Flute Renditions for Carnatic Music." In 2018 International Conference on Signal Processing and Communications (SPCOM). IEEE, 2018. http://dx.doi.org/10.1109/spcom.2018.8724444.

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Al-ghawanmeh, F., I. Jafar, M. Al-taee, M. Al-ghawanmeh, and Z. Muhsin. "Development of improved automatic music transcription system for the arabian flute (NAY)." In 2011 8th International Multi-Conference on Systems, Signals and Devices (SSD 2011). IEEE, 2011. http://dx.doi.org/10.1109/ssd.2011.5993561.

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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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Kumar, Kishan, Kishen Kumar, Praneel Chand, and Dale A. Carnegie. "Pan piper 1.0: An overview of a robotic pan flute for Pacific music." In 2014 Asia-Pacific World Congress on Computer Science and Engineering (APWC on CSE). IEEE, 2014. http://dx.doi.org/10.1109/apwccse.2014.7053863.

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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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Song, Zilong. "On Development and Change of Cucurbit Flute Music of the Dai Ethnic Group in Yunnan." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.53.

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