Sonata in E major BWV 1035 / Johann Sebastian Bach -- Suite for flute and piano, op. 34 / Charles-Marie Widor -- Sonatine for flute and piano / Walter Gieseking -- Fractus III: Aerophoneme for flute and supercollider / Eli Fieldsteel. / text

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The years from 1800 to 1880 produced a distinct and identifiable body of flute literature representative of the Napoleonic age in France and also the Romantic period as a whole. The changing role of the flutist exhibited in this vocally-based literature can be traced to effects from the development of the Boehm system and to certain nineteenth-century sociological changes in France. Compositions from this school also reflect the emerging status of the flutist as solo virtuoso.The literature of the French flute school represents a hybrid form of instrumental virtuosity and extremely expressive melodies which holds a unique place in flute literature. Nevertheless, its use appears to be decreasing steadily, probably due to differing opinion about the questionable musical value of this body of music. The present study was therefore devised to identify idiosyncratic characteristics of the literature, and to examine possible pedagogical applications in light of these characteristics.Six composers were chosen who were flutist-virtuosi from 1800-1880: Tulou, Boehm, Altes, Genin, Demersseman and Andersen. Biographical information was included to enlarge the sociological picture of the flutists' status as Romantic virtuosi, and to aid in the presentation of various descriptions of the expressive role of the new flute.One composition by each composer was selected for analysis. Where possible, actual Conservatory Exam pieces were chosen. A pool of recurrent common characteristics emerged which are clearly related to the sociological framework of nineteenth-century France. Finally, the isolated elements were examined for possible pedagogical benefits. / School of Music

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 133-136).

Treatise (D.M.A.)--University of Texas at Austin, 2005. / Supervisors: Gerard Béhague and Karl Kraber. Vita. Includes bibliographical references. Also available from UMI.

Inaug.-Diss.--Berlin. / Vita. "Die vollständige arbeit ist als II. band der Schriften zur praktischen psychologie ... veröffentlicht." "Literaturverzeichnis": p. 6-9.

No description available.

Willy Burkhard (1900–1955) was one of the most prolific Swiss composers of the twentieth century. His works comprise ninety-nine opuses and include a multitude of genres. Burkhard was awarded the Swiss Composersʼ Prize and the Music Prize of the City of Zürich. He held teaching positions at the conservatories in Bern and Zürich and was a Swiss Musiciansʼ Society board member for thirteen years. Indicating his importance to Swiss musical history, the Willy Burkhard Gesellschaft was founded in Bern in 1964. This dissertation examines Burkhardʼs solo and chamber music for flute, including the Suite en miniature für Flöte und Klavier, Op. 71, No. 2 (1944), the Serenade für Flöte und Gitarre, Op. 71, No. 3 (1944), the Serenade für Flöte und Klarinette, Op. 92 (1953), and the Suite for Flöte solo, Op. 98 (1955). These works represent Burkhardʼs mature compositional style and their study provides insight into Burkhardʼs musical language and processes. Burkhardʼs music straddles the line between the tonal and atonal worlds. He often creates a tonal center through repetition of the tonic pitch class or harmony. However, he avoids diatonic scales in favor of chromatic and octatonic pitch sets. The formal structure of the music is closely related to Burkhardʼs treatment of tonality. Pitch and rhythmic motives are integral to Burkhardʼs music and appear in both melodic and secondary lines. He uses ostinato figures in the accompaniment that may either complement or contradict the melody. Burkhardʼs use of intervals is deeply intertwined with all of these elements, as he is partial to the minor second, minor third, major third, and perfect fourth. These intervals serve to create both local and long-distance connections. Of lesser importance is Burkhardʼs use of harmony, in which he generally chooses smooth linear motion and color over function. Burkhard also explores different textures in his music, regardless of instrumentation. The knowledge gained through analysis is then used as a basis for notes regarding the performance of these works, with the goal of inspiring an appropriate stylistic interpretation. In addition to these suggestions, technical information and practice ideas are provided when applicable. / Suite en miniature für Flöte und Klavier, op. 71, no. 2 -- Serenade für Flöte und Gitarre, op. 71, no. 3 -- Serenade für Flöte und Klarinette, op. 92 -- Suite für Flöte solo, op. 98. / School of Music

Albert Roussel, a contemporary of Ravel and Debussy, composed nine chamber works which include the flute. His general musical style as well as his use of the flute in these works is discussed in this lecture recital.

This study focuses on the soloist's path to direct musical communication. Through a subjective questionnaire, thirty-eight flute soloists describe their experiences performing concertos (flute with orchestra) in the traditional concert hall setting. With an emphasis on clarifying the most meaningful musical moments in performance, and identifying the important strategies and procedures these artists use to optimize performances, this study additionally includes a brief discussion about collaboration (involving a specific performer/composer relationship), and a sample of a performer's self-observations while performing a movement of the Christopher Rouse Flute Concerto. This primary source study endeavors to supply useful information for the aspiring soloist and the advanced or professional level flutist, as well as preliminary data about artists' experiences of optimal performance and communication with an audience for the purpose of potentially contributing to future interdisciplinary research associated with music. Compared to research on listening, relatively few scientific studies examine the performance of music from the performer's perspective. By giving world-class performing musicians a voice - using their actual words to describe what they think and how they feel, especially during optimal performances - this author hopes that future neuroscientific and psychological researchers might, through new interdisciplinary experiments involving music performance, learn more about how music and the brain work. The growing potential in this type of interdisciplinary research may provide greater insight into the most profound benefits of music and its significant power and importance in all human cultures.