Abstract In 1934, the French flute pedagogue Marcel Moyse (1889–1984) published his celebrated De la sonorité, a method book that aimed to provide a technical groundwork through which flute players could emulate the expressive powers and control of tone displayed by exponents of the operatic singing technique bel canto. This critical commentary sets De la sonorité in both aesthetic and historical contexts, examining the ways in which Moyse made use of the human voice, and more specifically bel canto, as a model for flute players and instrumentalists in general. It is clear that Moyse’s own experience in opera orchestras and exposure to opera repertoire and singers influenced his teaching style and publications. In addition to De la sonorité, he published two volumes of opera arias transcribed for the flute (in 1962 and 1973) which suggest that bel canto, the opera and the flute were all related in his mind. Indeed, it is possible to significantly enhance our understanding of De la sonorité if it is viewed from the perspective of its vocal influences. Historical references advocate the use of the voice as a model for expression because it is the vehicle through which emotions are expressed. As a result Moyse extolled this “natural way” in his teachings. Exploring bel canto establishes similarities to flute playing both aesthetically and technically. The exercises contained in De la sonorité enable the player to work towards producing a homogeneous and focused sound with ease through the entire register of the instrument at any dynamic level. Alongside a discussion of the five sections that make up De la sonorité (“Timbre and Homogeneity of Tone in the Three Registers,” “Suppleness in the Low Register,” “Attack and Slurring of Notes,” “Fullness of Tone” and “The Management of Tone in Interpretation”) the present study includes a practical performance-based perspective with commentary on Moyse’s approach from three leading flute players and pedagogues currently working in Australia: James Kortum, Lecturer in Flute at the Sydney Conservatorium of Music; Alan Hardy, Lecturer in Flute at The University of Melbourne; and Prudence Davis, Principal Flute with the Melbourne Symphony Orchestra.

Abstract In 1934, the French flute pedagogue Marcel Moyse (1889–1984) published his celebrated De la sonorité, a method book that aimed to provide a technical groundwork through which flute players could emulate the expressive powers and control of tone displayed by exponents of the operatic singing technique bel canto. This critical commentary sets De la sonorité in both aesthetic and historical contexts, examining the ways in which Moyse made use of the human voice, and more specifically bel canto, as a model for flute players and instrumentalists in general. It is clear that Moyse’s own experience in opera orchestras and exposure to opera repertoire and singers influenced his teaching style and publications. In addition to De la sonorité, he published two volumes of opera arias transcribed for the flute (in 1962 and 1973) which suggest that bel canto, the opera and the flute were all related in his mind. Indeed, it is possible to significantly enhance our understanding of De la sonorité if it is viewed from the perspective of its vocal influences. Historical references advocate the use of the voice as a model for expression because it is the vehicle through which emotions are expressed. As a result Moyse extolled this “natural way” in his teachings. Exploring bel canto establishes similarities to flute playing both aesthetically and technically. The exercises contained in De la sonorité enable the player to work towards producing a homogeneous and focused sound with ease through the entire register of the instrument at any dynamic level. Alongside a discussion of the five sections that make up De la sonorité (“Timbre and Homogeneity of Tone in the Three Registers,” “Suppleness in the Low Register,” “Attack and Slurring of Notes,” “Fullness of Tone” and “The Management of Tone in Interpretation”) the present study includes a practical performance-based perspective with commentary on Moyse’s approach from three leading flute players and pedagogues currently working in Australia: James Kortum, Lecturer in Flute at the Sydney Conservatorium of Music; Alan Hardy, Lecturer in Flute at The University of Melbourne; and Prudence Davis, Principal Flute with the Melbourne Symphony Orchestra.

AFRIKAANS: Die aangewese manier om met instrumentale onderrig te begin, is gewoonlik om van 'n praktiese handboek gebruik te maak. Juis omdat die fluit 'n gewilde instrument blyk te wees onder hoërskoolleerlinge wat 'n tweede instrument op skoolvlak wil begin aanleer, het die skrywer 'n gebrek ervaar aan 'n werklik toepaslike praktiese handboek wat op beginners van hierdie ouderdom gemik is. So 'n handboek moet 'n nuwe speler in staat kan stel om binne 'n tydperk van gemiddeld drie tot vyf jaar die minimum voorgeskrewe standaard van UNISA of Associated Board of Royal Schools of Music graad V tot VI te bereik. Deur middel van hierdie studie word daar gepoog om hierdie leemte aan te vul, en is die voorgestelde handboek vir 'n jaar deurlopend op beginner f1uitspelers getoets en aangepas. Die teikengroep is die groep leerlinge wat vanaf graad 8 tot 11 met fluit as tweede instrument begin. Hierdie leerlinge bespeel gewoonlik 'n eerste instrument op 'n standaard van ten minste UNISA graad III en beskik gewoonlik oor 'n redelike vlak van musiekteoretiese kennis. Die verhandeling is op drie vlakke aangepak, naamlik 'n agtergrondstudie tot hoërskoolfluitonderrig, 'n kritiese evaluering van vier bestaande fluithandboeke en dan die skryf van 'n raamwerk vir 'n voorgestelde fluithandboek. Die agtergrondstudie wat as handleiding vir die fluitonderwyser bedoel is, is omvattend aangepak. Aspekte hierin vervat sluit onder meer oefenroetines, die versorging van 'n fluit, opsies wat beskikbaar is wanneer 'n fluit aangekoop moet word, fisiese vereistes, toonontwikkeling, vibrato en dergelike verwante aspekte in. Hierdie aspekte is almal in een studie aangepak omdat hierdie relevante inligting selde in een handleiding vir die fluitonderwyser beskikbaar is. As voorstudie tot die skryf van 'n praktiese handboek is vier bestaande handboeke krities beskou met die oogmerk om gunstige kenmerke uit hierdie boeke in die voorgestelde handboek te integreer. Die skrywer het ook die bruikbaarheid al dan nie van hierdie vier publikasies vir leerlinge in die teikengroep geevalueer sodat die skryf van 'n handboek vir hoërskoolleerlinge hieruit gemotiveer kan word. Die handboek wat op die horskoolbeginner gemik is, word in die laaste hoofstuk bespreek en in Bylaag 1 aangeheg. Met hierdie handboek wil die skrywer die hoerskoolbeginner in staat stel om 'n stewige basis vir toonontwikkeling te Ie sodat enige vingertegniese werk, soos studies en toonleerpatrone vanuit hierdie perspektief aangepak kan word. Die skrywer is van mening dat die fluit se aantrekkingskrag in die eerste plek in die spesifieke eienskappe van die toon gesetel is, en beskou daarom die vestiging van 'n stewige basis vir toonontwikkeling as voorvereiste vir enige tegniese ontwikkeling wat later mag volg. Begeleidings word vir heelwat van die aanvangsstukke verskaf omdat die skrywer verder ook van mening is dat die nuwe fluitspeler beter gemotiveer word wanneer die ervaring van musiekskepping saam met 'n ander instrument van heel vroeg af beleef word. Verder word 'n hoe premie op die integrasie van tegniese- en toonontwikkeling vanaf die vroee lesse geplaas. Omdat daar met hoërskoolbeginners, wat alreeds oor 'n redelike mate van musiekteoretiese kennis beskik, gewerk word, word note met skuiftekens vanaf die vroeë lesse gebruik sodat die omvang van nuwe note wat aangeleer word eerder lateraal in plaas van vinnig na boontoe uitgebrei word. Sodoende kry die onderwyser geleentheid om seker te maak dat die basiese boustene vir toonbeheer gevestig is voordat nuwe note bygevoeg word. Met hierdie studie hoop die skrywer om 'n leemte te vul en dat hierdie studie leiding aan heelwat fluitonderwysers kan gee. ENGLISH: The normal way in which to start with an instrument is by using a suitable instrumental tutor. Such a tutor usually provides both pupil and teacher with an appropriate order in which to learn new material, and by using a combination of exercises and pieces, helps the new player to internalize acquired skills. The flute seems to be a very popular instrument, especially for high school music pupils wanting to start with a second instrument. And it is in this regard that the author experienced a lack of a suitable flute tutor for beginners of this age group, enabling them to reach a standard of UNISA or Associated Board of Royal Schools of Music grade V to VI within three to five years. Because of this, the author wrote and empirically adapted a suggested tutor for high school flute beginners to provide in this gap. The target group were those pupils in grade 8 to 11 starting with a second instrument and playing a first instrument with a minimum standard of UNISA grade III. A reasonable knowledge of theory of music is therefore supposed. This paper was done on three levels, the first level being a background study to flute teaching, the second level a critical evaluation of four flute tutors and the third level the provision of a suggested flute tutor for high school beginners. Because very few publications provides a flute teacher with relevant information in one book, the background study covers a wide array of subjects. Therefore subjects such as practicing schedules, physical requirements, the care of the flute, options available when purchasing a flute, tone development, vibrato and other appropriate subjects were investigated. The critical evaluation of the four flute tutors served as an introductory study for the provision of a suggested flute tutor. For this reason positive elements from these tutors were integrated in the suggested flute tutor, and the suitability of these four tutors by pupils in the target group were also investigated. The discussion of the suggested tutor in the last chapter serves as an introduction to the tutor itself. With this the author hopes to enable the flute beginner to acquire a solid tonal foundation before starting on various technical exercises. The integration of tone development and technical proficiency from the earliest lessons are also a matter of high priority. For this reason, and also because a reasonable knowledge of theory of music are supposed, the inclusion of chromatic notes from the earliest stages helps the new player to develop a technical proficiency while at the same time developing tone control. Accompaniment to many pieces in the tutor are provided from as early as the third lesson. In this way it is hoped to promote motivation and enthusiasm for the pupil by broadening the experience of music-making from as early as possible. / Dissertation (MA (Music Science))--University of Pretoria, 2006. / Music / unrestricted

In 1966, René Le Roy (1898-1985) and his student Claude Dorgeuille co-authored Traité de la flûte historique, technique et pedagogique. This treatise presents the culmination of Le Roy's career as a renowned performer and teacher in both Europe and North America. His approach to the study of music, as presented in the method, diverges from traditional French training, instructing teachers to compose exercises specific to the needs of the student and by using repertoire as source material. Claude Dorgeuille writes of the method, "...the Traité gives an outline analysis of the principal elements of technique, thus allowing exercises to be devised as appropriate to the needs of the individual." Using Le Roy's treatise, I demonstrate the application of his teaching to Jacques Ibert's Deux stèles orientées pour voix et flûte (1925), a work dedicated to and premiered by Le Roy, through the creation of individual exercises tailored to preparation of Ibert's work.