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

Thesis (MMus (Music))--University of Stellenbosch, 2008. / This thesis provides an overview of different aspects of the application of vibrato on the flute. Although it is a compilation of different viewpoints, it does not offer a conclusion as regards the ‘correct’ application of vibrato, due to the subjective nature of this phenomenon. The intention is that the reader will be able to reach his or her own conclusions and form new opinions regarding this subject. The focus is largely on the comparison of the production of vibrato on the flute with its production on other instruments. The aim is to examine the different choices involved in the production of vibrato when the flute is part of an ensemble and when it is a solo instrument. By learning more about other instruments’ timbres and production of vibrato, it enables flautists to adapt to different timbres in order to form sonorous ensembles. The physiological and scientific aspects of vibrato are also explored with the view to equip flautists with this knowledge. Thus, flautists will be able to listen to and analyse from a more critical and informed perspective how they themselves use vibrato and how other flautists use it. The main goal of this thesis is to provide enough information, opinions, studies and statistics to enable a flautist to make an informed decision concerning their choice and application of vibrato.

Flutists have reported musculoskeletal pain from practicing and performing their instrument. This study was a statistical approach to investigate potential causal risk factors for flute related pain among high school and college students. The study focused on the relationship between flute related pain and musical background or anthropometric measurements including size, strength and flexibility. Subjects included thirty high school and college-aged flutists who were assessed using a questionnaire, bi-lateral anthropometric measurements of the upper-extremities, upper-extremity performance tests for range of motion, isometric strength and rotation speed, and instrument specific questions. Four questions regarding pain associated with flute playing were treated as dependent variables and used for correlation and regression analyses with other independent variables. A six-factor regression model was created and each model was statistically significant. Results of this study show that strength, flexibility, pain spots, and exposure are risk factors for flute related pain. Both left and right pinch strength and right isometric pronation strength were significantly correlated to flutists experiencing pain while playing. Knowledge of these factors in relationship to pain is needed in flute pedagogy to help teachers and performers understand why flutists report pain during and after playing. Additional studies are warranted for replication of this study and for determining the clinical and pedagogical relevance of these findings.

The Lecture Recital was given on July 28, 1981. Its subject, Carl Reinecke's "Undine" Sonata, is a major work written for flute during the nineteenth century. Reinecke was highly respected as a conductor and pianist; his great love for the classical style tempered his Romanticism and conditioned his approach to both performance and composition. The subtitle of the sonata suggests a program based on Friedrich de la Motte Fouqué's short novel, Undine. Although few flutists are familiar enough with this tale to recognize its application to the sonata, an exploration of the program implied by the subtitle adds materially to an understanding and appreciation of the work; to a large extent, the content of each movement is conceived in terms of the program. Further examination of Reinecke's life and philosophy reveals that both the choice of this particular literary subject and the uniting of Romantic pictorialism with classical form were entirely characteristic of his writing. Since Reinecke specified no program other than the subtitle, any relating of the music to specific events in the story is necessarily a subjective postulation. The musical content of the work makes it fairly easy to establish a broad correspondence between the movements of the sonata and the progress of the story, however, leaving details to the individual imagination. Within the paper, the pictorial aspects of the music are explored in the belief that they can not only assist in an appreciation of the work, but also provide a guide to the performer for its interpretation.

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.

The incidental music for Chansons de Bilitis is little known and rarely performed. However, the relegation of this work to the realms of obscurity is highly unjustified. Chansons de Bilitis requires an unusual combination of instruments: two flutes, two harps, and celesta in addition to a reciter. The work is a theater piece in the tradition of melodrama, with spoken text and background music in alternation. Despite the rather unique nature of the work, many of the melodic, textural, and orchestrational devices for which Debussy is noted are evident. The music is throughcomposed; each movement mirrors and emphasizes the meaning and mood of the accompanying poem. Because of the fragmentary nature of the music and its rather subordinate role in the total theater work, the primary emphasis in gaining an appreciation of the value of the work lies in an investigation of its historical background.

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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.