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Journal articles on the topic 'Music Flute music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

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

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AbstractThe purpose of this study was to describe flute usage among current, professional music therapists. The broad term “flute” included any instrument with sound created by blowing air across or into an aperture hole. Members of the American Music Therapy Association (AMTA) were sent an electronic survey consisting of 25 questions pertaining to the flute and music therapy. Descriptive statistics describe how flutes were being used in music therapy sessions, and chi-square tests were used to determine whether music therapists who studied flute as a primary instrument used the flute as an in

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2

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

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3

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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4

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

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5

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 (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

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6

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 inst

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7

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 (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 musi

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8

Agi, Daniel, and Helen Bledsoe. "PERFORMING LUIGI NONO'S FLUTE MUSIC." Tempo 72, no. 285 (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

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9

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

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10

O'Loughlin, Niall, Ellen Taaffe Zwilich, Niels Gade, et al. "Flute." Musical Times 133, no. 1797 (1992): 584. http://dx.doi.org/10.2307/1002595.

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11

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

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12

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

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13

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

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14

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

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15

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

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16

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

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17

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

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18

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

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19

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

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20

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

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21

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

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Logical reason for research. The flute art has its own history of development, which is marked by different traditions – the performing, composing, and pedagogical. The mentioned traditions outline the ways of the development of the flute art of the present and the future; they have a certain originality of geographical and cultural orientation. Today, the flute art is the subject of the audience demand, the performing and composing creativity, and has a solid repertoire in various styles and genres of both translations and original compositions in many instrumental compounds, ranging from sol

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22

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

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23

Miller, Malcolm. "Jerusalem, Music Centre: Andre Hajdu." Tempo 67, no. 264 (2013): 78. http://dx.doi.org/10.1017/s004029821300017x.

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An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (

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24

Jamnongsarn, Surasak. "Music deculturation: A traditional thai Music tool for Indonesian Music Adoption." International Journal of Creative and Arts Studies 5, no. 1 (2018): 31–40. http://dx.doi.org/10.24821/ijcas.v5i1.2213.

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There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa ( Java flute), Klong Jawa ( Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including

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25

Sanjaya, Singgih. "Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun." Resital: Jurnal Seni Pertunjukan 22, no. 1 (2021): 48–57. http://dx.doi.org/10.24821/resital.v22i1.4620.

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AbstractThis research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed

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26

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

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27

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

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28

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

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29

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

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30

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

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31

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

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32

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

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33

Nita, Bogdan G., and Sajan Ramanathan. "Fluids in Music: The Mathematics of Pan’s Flutes." Fluids 4, no. 4 (2019): 181. http://dx.doi.org/10.3390/fluids4040181.

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We discuss the mathematics behind the Pan’s flute. We analyze how the sound is created, the relationship between the notes that the pipes produce, their frequencies and the length of the pipes. We find an equation which models the curve that appears at the bottom of any Pan’s flute due to the different pipe lengths.

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34

Zhang, Juzhong, Xinghua Xiao, and Yun Kuen Lee. "The early development of music. Analysis of the Jiahu bone flutes." Antiquity 78, no. 302 (2004): 769–78. http://dx.doi.org/10.1017/s0003598x00113432.

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The authors present the musical properties of well-preserved bone flutes recently recovered from Jiahu, an early Neolithic site in central China with a sequence beginning in the seventh millennium BC (Antiquity 77: 31–44). Tonal analyses of five of the flutes indicate a gradual development from four-tone to seven-tone scale. By adding more holes to the pipe, structuring the pitch intervals closer to each other, and by alternating the keynote, the prehistoric musicians could play increasingly expressive and varied music. In addition, the flutes became progressively standardised in pitch, presum

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35

Kawanaka, Hirokazu, and Keiichi Hanada. "Music playing robots. Playing The Flute Automatically." Journal of the Robotics Society of Japan 14, no. 2 (1996): 192–95. http://dx.doi.org/10.7210/jrsj.14.192.

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36

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

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Abstract After his emigration from Hungary and a longer stay in Austria and Argentina, Dohnányi settled down in Tallahassee (USA) in 1949 and lived there until his death in 1960. Besides his professorship at the Florida State University (FSU) and his continuous concert-tours in the whole country, he was also very active as a composer in this decade. The ultimate composition of this period and his life is the Passacaglia for Solo Flute (op. 48. no. 2) which is a quite unusual piece of the composer, not only because of the choice of instrument, unprecedented in the œuvre, and its theme, partly d

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37

Thompson, W. Burt. "Music Sight-Reading Skill in Flute Players." Journal of General Psychology 114, no. 4 (1987): 345–52. http://dx.doi.org/10.1080/00221309.1987.9711072.

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38

Lasocki, David. "Vivaldi's Music for Flute and Recorder (review)." Notes 64, no. 3 (2008): 496–98. http://dx.doi.org/10.1353/not.2008.0010.

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39

Pandey, Durgesh. "ROLE OF ELECTRONIC INSTRUMENTS IN MUSIC TEACHING AND PERFORMANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3419.

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The smallness of the sound is based on intensity. When it affects the brain and the heart, first blood activity is affected and then it is transformed into mental sensation. To measure the intensity of noise, we use the decibel method. It is also known as Phan; It is worth noting here that if the sound level of a flute produced by a flute is 40 fane, the level of the sound of the two flutes would be only about 43 pans instead of 80 pans and the sound level of 10 flutes would be around 50 pans. There is a difference in the intensity of the sound and not the highness of it. नाद का छोटा-बड़ा

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40

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

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41

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

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42

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

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43

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

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44

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

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45

Abbate, Carolyn. "Debussy's phantom sounds." Cambridge Opera Journal 10, no. 1 (1998): 67–96. http://dx.doi.org/10.1017/s0954586700005334.

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Towards the end of a life spent meditating on music, philosopher Vladimir Jankélévitch wrote that ‘music is the silence of words, just as poetry is the silence of prose’. With this lapidary remark, he bottled up essences of French symbolist musical doctrines, their elevation of music above language, their impulse to urge poetry towards the condition of musical sound, and their sense that music is ineffable. ‘And the ineffable’, Jankélévitch wrote, ‘cannot be expressed because there are infinite and interminable things to be said of it’. Denying that music was inarticulate – that what it invoke

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46

Smith, Catherine Parsons, George Perle, Louise Talma, et al. "The Now and Present Flute." American Music 14, no. 2 (1996): 255. http://dx.doi.org/10.2307/3052369.

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47

Carlton Gamer. "Duetude for Flute and Clarinet." Perspectives of New Music 49, no. 2S (2012): 156. http://dx.doi.org/10.7757/persnewmusi.49.2s.0156.

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48

Montagu, J. "A transverse flute from Petra." Early Music 41, no. 1 (2013): 101–3. http://dx.doi.org/10.1093/em/cas163.

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49

Voon, Chai Yem. "Some Observations on Flute Playing in Malaysia." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 60–80. http://dx.doi.org/10.30819/aemr.6-5.

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Surviving in an environment that seems to be not encouraging music performances for entertainment or for mental contemplation, Malaysian musicians have to strive very hard in order to earn a living. The situation gets worse when it comes to a particular group of musicians who have no choice but share the similar job opportunities. Apparently, the market is not offering enough opportunities for flautists compared to pianists and string instrument players. This eventually leads to a very competitive situation in both the performing and teaching scene. The time frame of this observation reaches b

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50

Soule, Richard L., and John Solum. "The NFA [National Flute Association] 20th-Anniversary Anthology of American Flute Music." Notes 51, no. 3 (1995): 1143. http://dx.doi.org/10.2307/899347.

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