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The music of Jean Francaix is well known to those familiar with woodwind chamber literature. His long, successful career began in the 1930s when French composers rejected the excessively chromatic harmonies, intense emotionalism and grandiose proportions of late Romantic music. Embracing the concepts of neoclassicism, economy of means, clarity and objectivity, and a return to diatonicism and formal structures, the new "Classical" music contained the added spice of twentieth-century harmonic techniques including bitonality, modality, and quartal and quintal harmonies. Francaix has written many concertos and solos for woodwind instruments, but his enduring popularity resides in his chamber music for various combinations. His publisher for the last six decades has been B. Schott's Sohne who commissioned Francaix to write several chamber works in honor of his eightieth birthday. Two of his works for flute, Divertimento pour flute et piano and Suite pour flute seule, are known to professional flutists but not considered standards in the flute repertoire. The purpose of this paper is to call attention to the wide variety of Francaix's repertoire which is eminently suitable for concert and recital programming. The identification of formal and tonal elements in Francaix's two works for flute helps to place his prodigious output within the context of the prevailing musical and philosophical aesthetic in France of the 1920s through 1940s. An annotated list of Francaix's works with flute in a primary role is included as an appendix.

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While there are not many pieces for flute by Azerbaijani composers in the twentieth-century, three of the country’s most famous composers wrote substantial works for the instrument. In this essay, I will discuss Fikret Amirov’s Pieces for Flute and Piano, Arif Melikov’s Concertino for Flute and Piano or String Orchestra, and Tofiq Bakihanov’s Three Flute Sonatas. Due to the collapse of many publishing houses in Azerbaijan after the fall of the Soviet Union, because of the high printing costs and low demand for music during this transitional time, the scores of these pieces are not readily available, resulting in a lack of performance by the newer generations of flutists. Fikret Amirov passed away in 1984, but Tofiq Bakihanov and Arif Melikov are well into their 80s. Given their age, it is critical to be able to work with them now on performance practices of their pieces, before their contributions are lost. For this essay, I made contact with Arif Melikov and Tofiq Bakihanov, performed for them, and conducted interviews. I also studied the style and ornamentation of Azerbaijani classical music with flute Professor Muzaffar Aghamalizade of the Baku Music Academy. With each piece, the similarities and differences in dynamics, style, terminology, folk-elements, and ornamentation, including trills and grace-notes, in all of the publications will be discussed. All the original editions have been compared to their later published versions. My goal with this research and topic is to bring these three pieces of music to the attention of the international community while diversifying and expanding the repertoire for flutists.

Music for Flute and Piano is a determinate composition for these two instruments. The technique used consists of serial saturations of pitch and rhythm as a starting point; however, the end result departed from strict adherence to serial procedure toward an intuitive variation of an 'A' and 'B' theme. A Script for Violinist incorporates determinacy and indeterminacy into a score; it is an exploration of violin idioms made 'in the moment,' capturing the many possibilities of bowing, fingering, and timing that become individualized by the performer.

This recital features three members of the woodwind family: clarinet, flute, and bassoon. The primary focus of this recital is on the clarinet repertoire. The music ranges across the eras, from Baroque to 20th Century, and is written by composers from North America and Europe. Along with the wide range of compositional styles, the music presents the virtuosity and range of the woodwind family. Brahms��� Sonata for Clarinet and Piano, No. 1 demonstrates a very classical approach to the clarinet after he was inspired by clarinetist Richard M��hlfeld. Harvey���s Three Etudes on Themes of Gershwin focuses more on a jazz and theatrically inspired side of the clarinet. Copland���s Clarinet Concerto, composed for Benny Goodman, incorporates classical, jazz, and North and South American elements. All of these works exemplify the woodwind family and their capabilities. / Mary Pappert School of Music / Music Performance / MM; / Recital;

This creative project is a composition in three movements for woodwind quintet (piccolo replacing flute in the second movement). The work is a serial composition based on the following all-combinatorial row: C, E, E-flat, D-flat, F, D, F-sharp, G, B-flat, A, B, 4-sharp. The first movement is in ternary form, its B section is a palindrome consisting of new versions of the material occurring in the first A section. The second A section is a varied, rather than exact, estatement of the first part. The second movement is a five part canon with each instrument being assigned its own octave. The third movement is a rondeau. The shape and length of its parts was determined by a systematic application of the F1 bonacci series to every formal element. The duration of the Quintet is approximately 20 minutes. / School of Music

Prussian King, Frederick the Great was one of the most powerful rulers in Europe of the eighteenth century. He was not only an outstanding leader, but also an excellent flute player and music patron as well. The purpose of the study is to examine his contributions as a music patron, composer, and performer. The research focuses on his flute compositions and the musical environment that he created in Berlin. The thesis consists of four chapters, in addition to the introduction. Chapter one is an overview of the Prussian court and Frederick the Great. Chapter two discusses the musical patronage of Frederick the Great and musical activities at the court, including concerts, the enterprise of the Berlin opera house, and court musicians. Chapter three centers on detailed style analysis of King¡¦s flute compositions to which the significant musical characteristics are examined. The last chapter consists of the summary and conclusion. The enthusiasm of Frederick the Great for music based on his loving for flute playing. As a ruler for a nation, music patron, performer, and composer, the King was not only heightened the standard of musical culture for Prussia, but also created an important Berlin school for flute in the history of music. The musical characteristics of King¡¦s flute compositions present the transitional styles between the Baroque and Classical period, in which the refined structure of the flute instrument reflects its features. The compositions of the King provided a vast literature for flute repertoire in the eighteenth century.