The lecture was presented April 7, 1987. This presentation centered on the flute music literature used for the Concours of the Conservatoire de Paris from 1828 through 1893. The historical parameter began with Jean-Louis Tulou's tenure as flute professor at the Conservatoire and ended with Joseph-Henri Altes'tenure in the same capacity. The Concours is an annual performance competition to determine which students on each instrument will graduate from the Conservatoire. The majority of Concours pieces for flute during the tenures of professors from Tulou through Altes were composed by those two men. Short biographies of Tulou and Altes were presented. Discussion of interim professors Victor Coche and Vincent-Joseph Dorus was included, with focus on the role of these two men in bringing acceptance of the Boehm system flute to the Conservatoire. Tulou's fifteen Grands Solos were compared in form, key center and tonal progression. His themes and passagework are constructed to best display the conical-bore, old system-flute with small toneholes. His Solos continued to be used for the Concours, in alternation with Altes', throughout the tenures of both Vincent-Joseph Dorus and Altes. Tulou's Cinquieme Grand Solo was used for more detailed analysis and performance. Altes wrote his Solos de Concours for the Boehm system flute. Idiomatic treatment in composition of themes and passagework, as well as tonal progression in his Solos, was considered. Altes' Methode de flute reveals his views on variety in articulation, use of alternate fingerings, and musical interpretation. Those ideas are reflected in the construction of his Cinquieme Solo de ronrnwr. the example used for more detailed analysis and performance. The discussion was concluded by a comparison of the Solos of Tulou and Altes with regard to form, tonal progression, and idiomatic construction of themes and passagework.

Cristóbal Halffter, born in 1930, established himself as an important figure in Spanish avant-garde composition in the middle of the twentieth-century. As one of the prominent leaders of the Generación del 51, he helped establish modernity in music as a part of Spain's identity. His compositional style mixing tradition with the avant-garde was built on the success and breakthrough of Manuel de Falla, a composer with close ties to Halffter's family and served as a 'father figure' to the Generación del 51. This study begins with a discussion on Falla's work and reception, as he lay the groundwork for modernism in Spanish music. Further, discussion on Halffter's background and compositional periods, from his nationalist approach in the 1950s to his embrace of the avant-garde in the 1960s and beyond exemplifies Halffter's prominent role in shaping Spanish modernity. This research then sheds light on previously unexplored solo flute works Debla [Solo VI] for Flute and Studie II [Solo III] for Flute by Halffter. Provided is insight to their respective influences (the Spanish debla and the Fibonacci sequence), analysis of each work, and a discussion on their similarities and differences. By taking an informative approach prior to analysis and performance suggestions, readers will gain insight to Halffter's Spanish roots as they relate to nationalism and the avant-garde, his affiliation with the Generación del 51, and his compositional style.

The purpose of this paper is to acquaint the reader with the state of the recorder as a musical instrument in this century. Information has been gathered from standard texts and journal articles to gain more recent ideas. The work is divided into three sections: (1) a brief history of the instrument; (2) a biographical sketch of Arnold Dolmetsch, the man who was most responsible for the revival of the recorder in this century; and (3) a detailed examination of the use of the recorder today. This last section includes the recorder in education, music written for it, recorder performance and organizations, and construction of the recorder. An appendix lists recorders that are available to players in this country. It is this writer's conclusion that the recorder today has regained its status as a performing medium.

Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 149-152).

Master of Music / Department of Music, Theatre, and Dance / Karen M. Large / This report covers a history of the flute in jazz music as well as the advancement of the flute in jazz, starting from the late 1920s. The lives of jazz flute pioneers Alberto Socarrás, Wayman Carver, Herbie Mann, Hubert Laws, and Ali Ryerson are discussed, as well as their contributions to the history of jazz flute. Basic jazz techniques such as improvisation are broken down and explained for classically trained flutists and others who have an interest in playing jazz music but do not know where to begin. This report also discusses how practicing these techniques can further aid in preparing a classical performance. Examples included in this report are excerpts from Mozart’s Concerto in D Major for flute and Mike Mower’s Sonata Latino.

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night Music, composed in 1964. This research offers Western flutists a better understanding of Indian music, specifically Hindustani and Indian folk music traditions, often not fully understood since Indian music is an aural tradition, rarely transcribed and notated, and relies on a guru/shishya (teacher/student) relationship. Such an understanding will elucidate the compositional choices made in Night Music, allowing flutists to be more informed in their performance of it. Although the focus of this study is on Night Music, other repertoire from Bhatia's concert music and film music will also be examined to illuminate Bhatia's compositional style, which includes elements of Hindustani music, Indian folk music, and Western musical traditions. An exploration of some of Bhatia's other compositions written for Western musicians will give readers beyond the realm of flutists a better understanding of his distinctive, cross-cultural style and influences, and will introduce larger audiences to this exceptional and little-known composer.

The lecture was presented on November 18, 1991. This presentation focused on the only two compositions for solo flute and orchestra by Ernest Bloch. Written during the last three years of the composer's life, the pieces are representative of his last style period. While Suite Modale is neobaroque in style, Two Last Poems is much more subjective. Together they represent a synthesis of many of the stylistic characteristics of Ernest Bloch. The musical parameters discussed included form, melody, texture, rhythm, harmony, and expressive devices.

Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.