abstract: The works of premier Finnish composer Kaija Saariaho demonstrate a fascination with the exploration and expansion of timbral possibilities. This project explores Laconisme de l'aile and NoaNoa, the only two of her works written for solo C-flute. Saariaho has developed a unique compositional style for the flute, characterized by extremes of color which are expressed through extended techniques such as the integration of the voice, with and without text, into the music, the exploration of "noise," the transformation between different timbres, and the use of electronic effects. Laconisme de l'aile (1982) is a dramatic and passionate work filled with lyrical gestures and intriguing timbres with optional electronic effects, and is an excellent introduction to the composer's writing for the flute. NoaNoa (1992) is characteristic of her mature compositional style. Like many of her later works, the electronic aspect of the work is integral to the piece. Saariaho's exploration of the timbral spectrum of the flute has resulted in a complex and unusual style of notation, making these works somewhat inaccessible for performers. Additionally, the technological requirements for NoaNoa make the work both intimidating and impossible to perform without either extensive technical knowledge or consultation with someone who has the necessary technical expertise. Through a detailed performance guide and reference recordings of both works, this project aims to make these two works accessible. All technical specifications are explained and the performance instructions address notation as well execution of all designated effects. Additionally, instructions for the electronic portion of NoaNoa allow flutists to perform the work with minimal assistance. / Dissertation/Thesis / Reference recording for NoaNoa / Reference recording for Laconisme de l'aile / Reference recording for Laconisme de l'aile with electronics / D.M.A. Music 2013

abstract: The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions. / Dissertation/Thesis / D.M.A. Music 2013

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T02:17:31Z (GMT). No. of bitstreams: 1 Fuchigami_RafaelHirochi_M.pdf: 4928207 bytes, checksum: a0ed12a80c12607b98a9de37140877a4 (MD5) Previous issue date: 2014 / Resumo: Este trabalho organiza informações sobre a introdução e difusão das tradições da flauta shakuhachi no Brasil, desde os primórdios do século XX até os dias atuais, levando em consideração os aspectos históricos e etnomusicológicos desse processo. Partimos dos estudos realizados por Olsen (1982, 1983, 2004) e Satomi (2004), tocando em assuntos relacionados com a difusão da música e cultura pelos imigrantes japoneses e seus descendentes. Entretanto, o objetivo central desta pesquisa é tratar da presença do shakuhachi em nosso país, independentemente da região ou grupo étnico no qual está inserido. Se, por um lado, restringimos o foco para um único instrumento da cultura japonesa, por outro, aprofundamos sua abordagem e ampliamos a pesquisa para todo o país, para além do estado de São Paulo. Discorremos sobre a trajetória da flauta a partir de um levantamento bibliográfico e acrescentamos novas informações que se revelaram durante o trabalho de campo. Abordamos a utilização atual do shakuhachi, visto que nos últimos anos estão ocorrendo mudanças significativas em seu panorama no país, como a introdução das obras e estilo difundidos por Katsuya Yokoyama (1934-2010), o aumento significativo de tocadores não-descendentes de japoneses, entre os quais alguns se tornaram líderes de grupos de música japonesa, e a utilização da internet como ferramenta de difusão das tradições do shakuhachi. Essas transformações evidenciaram o fato de que a cultura japonesa está se deslocando independentemente da população japonesa, um fenômeno recente no contexto do shakuhachi no Brasil / Abstract: The present work attempts to organize information gathered about the introduction and dissemination of the shakuhachi flute tradition in Brasil, from the earliest days of the twentieth-century to the present time, taking into consideration the historical and ethnomusicological aspects of this process. We began with the studies done by Olsen (1982, 1983, 2004) and Satomi (2004) touching on subjects related to the diffusion of music and culture of the immigrants and its descendants as it would be expected. However the focal point of this research is to call attention to the presence of the Shakuhachi flute in our country independently of the geographic region or ethnic group in which it is inserted. If on one hand one narrows the focus of the research to consider just one single instrument of the Japanese culture, on the other one furthers its approach thereby extending the study process to go beyond the borders of the State of São Paulo so to cover the entire country. We have examined the path of the flute¿s evolution begining with a bibliographical survey and adding new information that appeared in the course of our fieldwork. We approached current use of the Shakuhachi taking into consideration the fact that in recent years significant changes have occurred in this country as to the instrument¿s scenario such as the introducing of works and styles diffused by Katsuya Yokoyama (1934-2010), the significant increasing in numbers of non- Japanese descendent players, among which few have become group leaders of Japanese music, and the use of the internet as a tool to promote and divulge Shakuhachi tradition. These transformations make it evident the fact that Japanese culture is gradually being shifted independently from Japanese settlements, a new phenomenon in the environment context of the Shakuhachi in Brazil / Mestrado / Fundamentos Teoricos / Mestre em Música

Orientador: Stelamaris Rolla Bertoli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-23T15:37:09Z (GMT). No. of bitstreams: 1 Thomazelli_Rodolfo_M.pdf: 57345196 bytes, checksum: 3da9f24b7c1ff80c9e4ffefcf62d51ed (MD5) Previous issue date: 2013 / Resumo: A impedância acústica é um dos conceitos importantes para o estudo da propagação de ondas sonoras em dutos, pois por meio de sua determinação, outros parâmetros acústicos são obtidos. É um espectro em freqüências, e pode ser obtida experimentalmente através de um medidor de impedância acústica. Na presente pesquisa foi construído e validado um medidor de impedância acústica. Como objeto de estudo foi utilizados os pífanos - instrumentos de sopro da família das flautas. Dentre os métodos experimentais indicados na literatura, optou-se pelo uso do TMTC (Two Microphones Three Calibrations), devido à acessibilidade aos requisitos práticos e a possibilidade de investigação das flautas. Foram feitas medidas de impedância de dois dutos cilíndricos, de diferentes comprimentos e diâmetros internos constantes, cujos resultados foram comparados com modelos teóricos (etapa de validação). Determinou-se também a impedância acústica de três pífanos de afinações distintas. Da análise dos resultados, verificou-se a eficácia do método adotado e do aparato construído para a investigação da impedância acústica de dutos simples e, em especial, dos pífanos. Discutiu-se também aspectos importantes da construção do aparato, em termos da acessibilidade e complexidade / Abstract: The acoustical impedance is one of the indissociable factors in the studies of sound wave propagation in ducts, once its measuring provides other acoustical parameters. Its values are frequencydependent and can be determined with the use of an acoustical impedance spectrometer. For this research an acoustical impedance spectrometer was designed and validated. The research focused on a Brazilian woodwind instrument called "pífano", from the flute family. The experimental method known as TMTC (Two Microphones Three Calibrations) was chosen, for it provides easy access to practical needs and has wide capacity to interact with flutes. The spectrum from two cylindrical ducts were taken, each duct with a different length but equal inner diameters. The spectrum of three "pífanos" with different tunings, was also measured. The results from the cylindrical ducts were later compared to theoretical models (validation stage). From the results it was possible to ascertain the efficiency of the adopted method and apparatus built to investigate acoustical impedance of regular ducts and "pífano" flutes. Other important aspects of the process of building the apparatus were also discussed, in terms of accessibility and complexity / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil

Orientador: Adriana do Nascimento Araujo Mendes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T15:01:03Z (GMT). No. of bitstreams: 1 SanchezHermoza_TilsaIsadoraJulia_M.pdf: 2214748 bytes, checksum: 7fa5875f7f3962548285a6208cf9cb6d (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa qualitativa teve como objetivo obter informações sobre estratégias de estudo de alunos de flauta transversal e, ao final, apontar sugestões para melhorias nesse estudo. Inicialmente, foi feita uma revisão histórica acerca do estudo da flauta transversal para situar as maneiras em que o ensino e aprendizado deste instrumento se desenvolveram. Abordou-se as caraterísticas da relação mestre-aprendiz, tendo como referência o tratado de Quantz, até chegar ao ensino sistematizado por meio da instituição conservatório como escola profissionalizante. A seguir, foi feita uma entrevista estruturada com seis estudantes de flauta de uma instituição de ensino superior (IES) brasileira, buscando extrair informações sobre as práticas de estudo dos alunos e sua formação musical. A partir das entrevistas, com base na análise de conteúdo de Laurence Bardin (2008), foram criadas quatro categorias abordando questões acerca dos modelos propostos pela tradição de ensino conservatorial, priorizando a aquisição de habilidades técnicas e, também, da organização de estratégias aplicadas no estudo diário que beneficiam o aprimoramento da performance. A análise de conteúdo dos relatos coletados apontou que o modelo de ensino tecnicista ainda é adotado como principal escolha entre os sujeitos investigados. As discussões apontam para um estudo que contemple um pensamento mais reflexivo, que possa beneficiar o planejamento de estratégias e adaptá-las às necessidades de cada indivíduo, otimizando assim o tempo e visando a uma prática eficaz / Abstract: This qualitative research aimed to obtain information about study strategies of undergraduate flute students and, at the end, to point to suggestions to improve the practice of the instrument. To begin with, we did an historical review of the study of the flute to situate the ways in which the teaching and learning of the instrument have developed. We have approached the features of the relationship between master-apprentice based on the treaty of Quantz, reaching a systematized study at the conservatory as a technical model . Second, we did a semi-structured interview with a group of six undergraduate flute students of a Brazilian university, searching for information about how they practice the instrument daily, and how they relate their practice with their own musical formation. After the interview, we created four categories approaching issues about the traditional models to learn that prioritize study of technical skills, and also about the organizing strategies applied in daily study to fully improve the performance, based on Laurence Bardin's analysis (2008). The results of analysis' contents of the collected reports shows that the technicist model of education is still adopted as the main choice among the investigated subjects. In the discussion, we point to ways of studying that contemplate a more reflexive thinking that can benefit planning strategies and adapt them to the needs of each individual thus optimizing the time and seeking an effective practice / Mestrado / Fundamentos Teoricos / Mestra em Música

Micro-Images for Solo Flute, Genera for Flute/Alto Flute/Bass Flute and Clarinet/Bass Clarinet, and Poème exotique for Flute and Piano by American composer Daniel Kessner (b. 1946) utilize a hybrid compositional approach in which microtones are incorporated with more traditional chromatic writing. Through representative musical examples from each piece, this document highlights the timbral, dynamic and pacing complexities associated with the microtonal fingerings and prompts flutists to forgo idiosyncratic tendencies in favor of contextually based choices. In order to help guide musicians toward effective performances of these three pieces and similar works, a new tone color spectrum and description of relative dynamics are provided along with a discussion of the relationships between tone colors, relative dynamics and temporal pacing. Appendices include transcripts of email interviews with composer Daniel Kessner and Carla Rees, British contemporary flutist, as well as an updated list of Kessner’s flute works.

The shakuhachi, a Japanese flute, is a rather small instrument with a simple geometry. Still, it appears to have a complicated spatial sound radiation characteristic. This effect results from interference of sound emanating from finger holes and the blowing hole as well as diffraction around and acoustic shadow behind the instrumentalist. Even in absence of room reflections, the pure direct sound of musical instruments already creates the impression of a certain extent of the source. This perceived extent is especially large for listeners close to the instrument and decreases with distance. This effect is investigated in more detail on the shakuhachi. The sound of a shakuhachi is recorded in an anechoic chamber by a circular microphone array consisting of 128 microphones. Amplitude and phase per frequency and angle around the instrument are measured. Interaural phase- and amplitude differences as well as the correlation of the signals arriving at the two ears are calculated for several listening positions at various angles and distances. These parameters are compared between different playing techniques. It is discussed how far the parameters are suitable to explain the perception of the spatial source extent.

Many skilled flutists place a high priority on "good" tone quality, or timbre. Timbre can be defined as the audible difference in character that a listener perceives for two notes played at the same pitch. Different timbres are determined by the combination and balance of harmonics that comprise a note. Unlike pitch and rhythm, timbre is difficult to objectively quantify. This project explores (1) how tone quality is described by skilled flutists, (2) whether the harmonic spectrum has some correlation with tone quality, (3) whether certain harmonic spectra are preferred, or considered "good". Thirty-one flutists ranging from high school students to professionals were recorded. A set of samples was used in surveys and interviews to capture descriptors and ratings of tone quality. All of the recorded samples were analyzed using application programs, Harmonic Analysis Tools (HAT), created for this study. HAT uses digital signal processing techniques to produce "spectral signatures". The signatures consist of the harmonic content, pitch, and amplitude of a sample. In the future, with further development, HAT may be a useful tool for musicians for tone development in the practice room. The outcome of this research is a baseline set of some often used descriptors. In addition, results showed some correlation between harmonic spectra and descriptors. There were also trends in preferences with respect to certain spectral characteristics. An unexpected finding was that University students showed divergent timbre preferences compared to highly experienced flutists.

It is the purpose of this study to organize the music written originally for flute and available in this country on the basis of a critical analysis which will give the reader a brief but authoritative word picture of each composition listed. This includes only music for C flute or without piano accompaniment. There are no arrangements or transcriptions included.

No description available.