The flageolet was a popular instrument in nineteenth-century England, yet it has attracted little attention from either scholars or performers. This thesis presents an account of the flageolet, its music and the context in which it was played in England between 1800 and 1900. The organology of the English flageolet is explored through a study of treatises and a representative sample of 100 instruments. Particular emphasis is placed on the developments wrought by William Bainbridge and a new classification of the English single flageolet is proposed. The double, triple and flute-flageolets are examined, and it is observed that the tenor double flageolet is a transposing instrument, a matter not previously highlighted in the literature. Bainbridge’s double flageolet is contrasted with the Delecta Harmonia of Scott and Purkis. The organology of the French flageolet is studied through treatises and a representative sample of 25 instruments. 65 pieces of music composed for the flageolet are examined. In general, it becomes apparent that the repertoire for the English flageolet dates from the earlier years of the century and is less complex than that for the French flageolet. The specific virtuoso repertoire for the French flageolet dates mainly from the final quarter of the century. Observations are presented concerning the playing of the instrument by women, matters relating to social class and the venues wherein the flageolet was played. The use of the instrument in dance bands, music halls and by itinerant musicians is noted. The English flageolet was the preferred instrument of amateurs, whilst professionals performed on the French flageolet. The position of the flageolet within the context of nineteenth-century duct flutes is discussed and observations made as to why the flageolet has not been revived. Finally, suggestions are given for further research into ‘The Flageolet in England, 1800–1900’.

In the 1980s, many British flute players and other musicians thought that Gareth Morris (1920–2007) personified the English flute school: his Philharmonia orchestra recordings display performance aesthetics typical of this school. English flute school performance aesthetics were also evident in the playing of Morris's celebrity predecessor at the Royal Academy of Music, the virtuoso Charles Nicholson (1795–1837). They were also more widespread in the playing of both Morris's and Nicholson's teacher-pupil lineages and other London-based flautists. Today these aesthetics can still be recognised in certain current leading British players. Mid-twentieth-century English flute school performance aesthetics particularly associated with Morris included the continued use of the cocuswood flute, for example, distinctively retained after the mid-twentieth century. Other noteworthy mutually inclusive aesthetics were a masculine flute-playing ideal indicated by a large tone and bold articulation; the importance of slow music interpretation as an indicator of a player's true worth or musicality; the interpretation of a composer's perceived meaning; an approach to accuracy (in rhythm, and vibrato pitch variation, for example) and the dislike of 'hollow' virtuosity. This thesis contributes to knowledge with the first formal study of this long-lived, unique and important English flute school over its complete span, focussing on Morris's lineage, as far back as George Rudall (1781–1871) and tracing its origins to late eighteenth-century London. Through this, the school is confirmed as a national, British style by spread and difference from European flute performance aesthetics. The thesis relies on a combined documentary, oral and aural history and uses the recordings analysis tool, Sonic Visualiser: it includes evidence from the author's insider view of the school both as Morris's pupil and a performer. The findings are organised and the school defined using Weber's concept ideal type: an ethnography is formed using Geertz's thick description.

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Haiku IV für Flöte solo ist eines von mehreren Werken, in denen ich mich mit der japanischen Gedichtform des HAIKU außeinandersetze. Die Struktur 5-7-5, die in der Silbenanzahl dieser Gedichte zu finden ist und die direktheit des Ausdrucks werden auf musikalische Struktur übertragen.

All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.