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.

Thesis (D.M.A.)--University of California, San Diego, 2001. / Vita. Includes reproduction of Ferneyhough's score of Cassandra's dream song as Appendix C. Includes bibliographical references (leaves 84-85).

This research briefly analyses and evaluates selected compositions for flute solo and flute and keyboard in terms of compositional techniques , formal, structure, technical difficulties and problems of performance . The works selected for discussion in this thesis are those of South African-born composers and composers of other nationalities who are resident in South Africa. Six compositions for solo flute and sixteen compositions for flute and keyboard by the following composers have been discussed: Robert Clough Stefans Grove David Hoenigsberg Christopher James Dirk de Klerk David Kosviner Bernard Langley Petrus Lemmer Jacques de Vos Malan Norbert Nowotny Hubert du Plessis Walter Swanson Arthur Wegelin Jeanne Zaidel-Rudolph Paul Loeb van Zuilenberg The aim of the research is primarily to discover and promote little known flute compositions by composers resident in South Africa. These works have been graded as to their suitability for either the concert platform or for educational purposes. / Thesis (M.Mus.)-University of Natal, Durban, 1986.

Thesis (D. Mus. Arts)--University of Washington, 1998. / Vita. Includes bibliographical references (leaves [123]-124).

No description available.

No description available.

The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation. Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music. Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.

The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation. Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music. Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994.

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994. / Arts, Faculty of / Music, School of / Sound recording included. / Graduate