Erwin Schulhoff (1894–1942) was a Czechoslovakian musician born in Prague, to a German-Jewish family, and whose life came to a premature end in 1942 at the Wülzburg concentration camp, near Weißenburg, Bavaria. Schulhoff’s life, compositional style, and two of his flute works are addressed in this dissertation: Sonata for flute and pianoforte, WV 86, and Concertino for Flute, Viola, and Double Bass, WV 75. Each work is considered as a discrete entity, and insight provided into the structure of the music; stylistic and compositional influences, form, phrase structure, and other aspects are discussed. The intended audience is the flutist seeking knowledge regarding the historical significance and performance of each piece. The analysis and summary of Schulhoff’s life and primary flute works will contribute to the understanding of performance scholarship of his music and provide a deeper understanding of the composer, from the perspective of musical and compositional style.

Robert Dick is best known as a leading proponent of contemporary music and extended techniques for the flute; however, his teaching is informative on a broader level that encompasses technical and musical aspects of traditional playing as well as contemporary practices. This dissertation is intended to serve as a resource for flutists, providing a detailed documentation of his approach to playing and teaching the flute. Dick’s highly integrated pedagogy—informed by his traditional training, revolutionary work in documenting and codifying extended techniques on the flute, and his equal personal involvement in performance, composition, and improvisation—provides a strong basis and clear trajectory, musically as well as technically, to his students. The primary research material for this document is the author’s personal collection of detailed notes from her studies with Dick. Additionally, as no pedagogy exists in a vacuum, a number of sources including historical treatises and more recent published documentations of flutists’ pedagogies provide context and support. Such publications are of current and continuing educational value; considering Dick’s contributions to the development of flute playing and his integrated approach to teaching the flute, a document that accurately and thoroughly addresses his pedagogy is a logical addition to this literature.

Fleogan is a work for a flute choir consisting of four piccolos, six C flutes, six alto flutes, and four bass flutes. The formal structure of Fleogan consists of three levels of arch form. First is the arch structure of the work in its entirety; next is the arch form within a movement, and on the smallest scale is the form within a tempo-section.

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This thesis uniquely explains the mechanical improvements which have occurred to the flute over the last 147 years. Theobald Boehm revolutionized the flute by changing many of its components culminating with the 1847 model flute. Since that time other improvements have been made which enhance the flute's capabilities in terms of pitch, tone, timbre, and simplification offingeringpassages. Among those improvements which are discussed in the following pages are the Dorus G-sharp key, the gizmo key, the Cooper scale, and The Brogger Mekanik as well as the makers behind the various improvements including Vincent Dorus, George Barrere, and Albert Cooper.

Analyzes music of Ravel, Debussy, Schoenberg, Webern, Milhaud, Bozza, Francaix, Poulenc, Cowell and Riegger.

Carl Nielsen, considered by some to be Denmark's greatest composer, has had great influence on twentieth-century Danish music. Nielsen wrote several chamber works that include the flute, three of which were examined in this study. These pieces, "The Fog is Lifting" (for flute and piano or flute and harp), "The Children are Playing" (for flute alone) and "Faith and Hope are Playing" (for flute and viola) are part of the incidental music for the Helge Rode patriotic drama "The Mother." "Fantasy Pieces, op. 2," originally written for oboe and piano, was transcribed for flute and piano by James Galway, and is also discussed in this study.The purpose of this research was to conduct a detailed examination of these works with regard to pedagogical, performance and compositional concerns. Information was gathered through the examination of written materials about Nielsen, results of questionnaires sent to selected flute pedagogues, results of coaching sessions with three flutists and comparisons of three recordings. Questionnaires revealed that many pedagogues were not familiar with the pieces in question. Varying responses were provided to questions regarding the level of proficiency needed to study these pieces, appropriate situations in which to program the works, why the pieces are not often programmed and pedagogical concerns. Coaching sessions revealed potential pedagogical problems, while recordings provided information regarding differences in interpretation. Compositional traits of Nielsen are discussed, as are additional pedagogical suggestions for students with little experience. / School of Music

The purpose of this project was to examine aspects of flute choir formation, participation, and performance as they relate to ensembles at the university level. Three main areas were covered: (1) a presentation and an analysis of data resulting from a survey of colleges and universities that are members of the National Association of Schools of Music (NASM); (2) a discussion of the advantages of establishing a college flute choir and the problems encountered in maintaining the ensemble; and (3) a presentation of various warm-up exercises that may be used in a flute choir rehearsal.Of the 449 flute choir questionnaires distributed, 120 (26.9%) were returned of which 71 (59.2%) were found to have existing flute choirs. A list of states represented by the respondents and twelve tables were presented. The tables included facts pertaining to the profile of the universities and music departments of the respondents, various structural elements of flute choirs, reasons for maintaining a university flute choir, and the relative importance of various warm-up exercises.The data presented in the tables included details regarding frequency and length of rehearsals, availability of E-•flat, alto, and bass flutes, number of concerts given, membership and audition requirements, and college credit offerings for university flute ensembles. Problems encountered in maintaining the ensemble, selection of repertoire, and preparation for performance were also covered. The reasons deemed most important for establishing or retaining a university flute choir include the development of chamber ensemble playing skills, individual playing skills, style interpretation, sight-reading skill, and the addition of a performance outlet. Warm-up exercises listed as the most often used in flute choir rehearsals include those for intonation, scales, and triads. Warm-up exercises that can be used in a flute ensemble setting to enhance the rehearsal routine are included and cover the following areas: Relaxation Techniques, Breathing, Tone Development, Intonation, Technical Exercises (Scales and Triads), Rhythmic Drills, and Sight-reading.From the statistics cited and the topics explored in this project, the premise is substantiated that the university flute choir is a viable performing ensemble and can also serve as an effective instructional medium. / School of Music