There exists a substantial lack of familiarity among flute teachers and music educators with extant publications of pertinent pedagogical flute repertoire at the intermediate level, specifically the concerto. Although readily available, suitable concerti for the important progression of the student from intermediate to the advanced level are often substituted with works too difficult technically and musically. In many situations, introduction and exposure to the concerto genre is virtually overlooked. Therefore, progression from an intermediate to an advanced level is often hampered, and a vital phase in the student's technical and musical development is neglected.This guide to intermediate-level concerti provides a systematic, methodical approach to the teaching of four concerti appropriate technically and musically for the established level of playing. The historical eras Baroque, Classical, Romantic, and Twentieth Century are each represented by one concerto.Chapters II, III, IV, and V provide a description of the concerto's evolution during the particular historical era specified. This examination is followed by a brief biographical sketch of the composer whose work is being discussed. The significance of each concerto in the composer's output is provided when such information is available. A list of all current and accessible editions is provided along with information about individual editors. An editorial paleography is supplied when more than one edition exists. Each of these four chapters concludes with a formal analysis of the concerto under discussion.Chapter VI provides a plan for the teaching and performing of each concerto. This plan is divided into two headings. The first is a didactic analysis of the following technical considerations: alternate fingerings, arpeggiated passages, double tonguing, meter, rhythmic patterns, and trills. Parallel etudes drawn from existing flute literature and original exercises by the writer are supplied. The second major area of discussion within the pedagogical analysis comes under the heading of the following interpretative considerations: articulation, breathing/phrasing dynamics, ornamentation, and tempo.The final chapter of the work includes a summary, conclusions, and recommendations. Three appendices contain moderately easy to intermediate, and intermediate to moderately difficult flute concerti as well as a publisher and agent code list.

Concerto for viola and orchestra / Bela Bartok -- Trio / Ludwig van Beethoven -- Two songs / Johannes Brahms -- Passacaglia / Johann Halvorsen. / text

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Analysis of the wind concerto finales reveals characteristics of several different concerto forms. Mozart incorporated ideas from the French Rondeau, the Baroque Concerto Grosso, and the Classical Sonata. His early concertos seem to favor earlier forms and ideas, and his final concerto exemplifies a more advanced Classical form. This research has revealed style relationships between forms of the Baroque compositions and Mozart's use of Rondo form in the finales of his wind concertos. This places historically Mozart's wind concerto Rondos between the Baroque Concerto grosso and the fully developed Rondo of Beethoven and Haydn.

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.

Abstract Not Available.

The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of Britten's life, accomplishments as a pianist, and his contribution to the piano repertoire in general. The third chapter provided a stylistic analysis on each movement of the concerto. It included structural analysis based on the formal, motivic, thematic, rhythmic, melodic and harmonic elements presented throughout the concerto. Additionally, possible technical challenges and suggestions for practice methods were recommended based on the issues of phrasings, articulations, dynamics, musical expressions and styles. Since each movement has its own unique titles such as Toccata, Waltz, Impromptu, and March, the origins of the genre and Britten's association with the terminology was also examined.The dissertation not only underlined the importance of Britten as a composer for the piano, it also revealed his distinct compositional characteristics shown in the piano concerto in relation to his other significant piano repertoire. The dissertation closed with a summary of the detailed analysis of the concerto and recommended further studies on Britten and his piano concerto. / School of Music

Thesis (D.M.A.)--Ohio State University, 1994. / Includes bibliographical references (leaves 126-130). Available online via OhioLINK's ETD Center

Thesis (D.M.A.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 86-87). Available also in a digital version from Dissertation Abstracts.