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.

Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.

In hierdie studie word die intonasie van fluitspel ondersoek met die doel om vas te stel watter faktore beïnvloed intonasie en watter metodes aangewend kan word om dit te verbeter. Intonasie is ’n besonder sensitiewe onderwerp vir enige musikant. Indien ’n musikant negatief gekritiseer word oor intonasie, word dit dikwels as ’n persoonlike aanslag ervaar. Deur die oorsprong van Westerse stemmingstelsels te ondersoek, word dit moontlik om die onderwerp van intonasie meer sensitief te benader. Hierdie bewusmaking kan moontlik nuwe insigte tot stand bring ten opsigte van die nodige aanpassings wat gemaak moet word om intonasie te verbeter tydens solo- en ensemble-spel. Verskeie faktore kan daartoe bydra dat intonasie as minder goed ervaar word. Sommige van hierdie faktore word nie noodwendig deur die uitvoerder beheer nie, maar hou verband met die fisiologie van gehoor – hoe klank waargeneem word. Die enigste manier waarop intonasie gemonitor kan word tydens ’n uitvoering, is met die menslike oor. Intonasie is direk gekoppel aan die frekwensie van ’n spesifieke toonhoogte. In die natuur bestaan daar faktore wat die waarneming van ’n frekwensie as ’n spesifieke toonhoogte kan beïnvloed, byvoorbeeld die tydsduur, intensiteit en toonkleur. Hierdie faktore word ook in hierdie studie ondersoek. Alvorens metodes ter verbetering van intonasie ondersoek kan word, moet die bou van die moderne fluit ondersoek word. Geen fluitskaal het perfekte ingeboude intonasie nie en deur bewus te wees van waar die tekortkominge voorkom, kan die uitvoerder die onderwerp van intonasie met groter omsigtigheid benader. Sodra die uitvoerder en onderwyser bewus is van watter faktore intonasie beïnvloed en wat nie deur die uitvoerder beheer word nie, kan metodes oorweeg word om faktore wat wel binne die uitvoerder se beheer is, toe te pas om die fluitspeler se intonasie te verbeter. Verskeie aspekte word bespreek, waaronder die plasing van die kurkstopper, die posisie van die kopstuk ten opsigte van die fluit, die manier waarop die fluit vasgehou word, opwarmingsmetodes en oefeninge, die metode van instemming en toonproduksie. Die toonhoogteneigings van note op die fluit word vergelyk soos dit voorkom in vyf verskillende bronne, waarna alternatiewe vingersettings voorgestel word vir pianissimo- en fortissimo-spel. Hierdie vingersettings kan handig te pas kom om die embouchure te assisteer en intonasie beter te beheer. Laastens word die verband tussen die afwykings in die fluit se intonasie, en klimaat en weerstoestande ondersoek, sodat die speler die uitwerking wat veral temperatuur op intonasie het, ook in ag kan neem. Alhoewel hierdie navorsing grootliks klem lê op fluitspelers, is die studie nie net beperk tot die fluit nie en ander instrumentaliste sal ook hierby kan baatvind. ENGLISH This study investigates the factors that influence intonation when playing the flute. Methods by which intonation may be improved are also examined. All musicians regard intonation as an extremely sensitive subject. Musicians often perceive negative criticism of intonation as a personal affront. By investigating the origin of the Western tuning systems, it becomes possible to approach the subject of intonation with more sensitivity. This awareness may establish new insights with regard to the necessary adjustments that must be made during both solo and ensemble playing. Different factors may contribute to intonation being perceived as unsatisfactory. Some of these factors are not necessarily controlled by the performer, but relate to the physiology of hearing – how sound is perceived. The only way in which intonation can be monitored during a performance, is with the human ear. Intonation is directly linked to the frequency of a specific pitch. Factors exist in nature which may influence the perception of a frequency as a specific pitch, for example duration, intensity and tone colour. These factors are also examined in this study. Before investigating methods to improve intonation, the way that the modern flute is built has to be examined. No flute scale has perfect, built-in intonation. By being aware of the shortcomings that may occur, the performer can approach the subject with greater circumspection. When the performer and the educator are aware of the factors which may influence intonation and which are not controlled by the performer, methods can be considered to apply factors that can be controlled by the performer to improve intonation. Different aspects are discussed, such as the placement of the cork stopper, the position of the head joint with regard to the flute, the way the flute is held, warm-up methods and exercises, how to tune and tone production. The pitch tendency of notes on the flute are compared as they occur in five different sources, after which alternative fingerings are suggested for pianissimo and fortissimo playing. These fingerings are useful in assisting the embouchure to maintain better control of intonation. Finally, the relation between the deviation in the flute’s intonation, and climate and weather conditions are investigated to assist the performer to take into consideration the effect that temperature has on intonation. Although this research focuses on flute players, this study is not restricted to the flute, and other instrumentalists can also benefit from it. / Dissertation (MMus)--University of Pretoria, 2007. / Music / unrestricted

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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 purpose of this dissertation is to introduce Le Temps Déformé for solo flute, percussion, and strings, composed by Korean American composer Texu Kim (b. 1980) in 2017. The dissertation includes an analysis of the work and its background, to show that it represents a significant expansion of the concerto repertoire for solo flute and to help performers interpret it. This piece of writing should also contribute to the available sources about the composer Texu Kim, given that it is the first dissertation about him or his work. This piece should be appropriate for flutists who are seeking to perform a new piece with orchestra. Although hundreds of concertos have been written for solo flute and orchestra or string orchestra, Kim uses the unusual instrumentation of strings and percussion (drum and triangle) without woodwinds and brass. In a program note, the composer mentions that he made use of Korean traditional music, Sujecheon, which has similar instrumentation. The note also discusses he transformed and in

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.

The purpose of this dissertation is to provide a survey of eight selected compositions for flute by the nineteenth-century Brazilian composer and flutist, Joaquim Antonio Callado (1848-1880). The aim of the survey is to identify early structural, melodic, rhythmic, and harmonic elements of the popular Brazilian instrumental genre, called choro, in Callado’s compositions. In addition, this study will investigate the hypothesis of Callado’s use of two different flute models to compose and perform: a nineteenth-century, simple-system, five-keyed wooden flute and the, then, newly invented silver, multi-keyed, Boehm flute. The study will also look for evidence of Callado’s use of both instruments in different stages of his short life. Joaquim Antonio Callado is considered to be the father of choro. Born in 1848 in Rio de Janeiro, this flutist, teacher, and composer was part of the first generation of choro composers and performers. He was crucial to the formation of this authentic instrumental genre (choro). In fact, Callado is credited as the first person to use the term choro. In the 1870s, he formed the group “choro Carioca” or “choro do Callado.” The pieces performed by the group included European dances, such as polkas and waltzes, as well as Afro- Brazilian music, such as modinhas and lundus. The blending of music from different cultural backgrounds resulted in a well-structured, yet dynamic, unique, and improvisatory style that is the choro. The period in which the choro emerged coincided with an important time in flute history. In 1847, after intense research, the German flute maker Theobald Boehm (1794-1881) unveiled his revolutionary flute. The instrument had a new mechanism and scale and it was made of different material: metal, which is more stable and durable than the standard wood. Its superior intonation, projection, and fingering mechanism provided a better playing experience. The flute acquired great popularity in Europe and beyond, eventually replacing the pre-Boehm, simple-system flutes in orchestras and conservatories. Years later, the Boehm flute arrived in Brazil through the hands of Mathieu Andre Reichert (1830-1880), a Belgian flutist who traveled to the country in 1859 and adopted it as his own, becoming one of the pillars of the Brazilian flute school, along with Joaquim Callado. There is no proven evidence, however, that Callado actually played a Boehm flute. From a few historical accounts, it is known that he performed on a pre-Bohm wooden instrument. But through the analysis of his music, one can speculate that Callado did indeed compose some of his pieces with the Boehm flute in mind. This study presents significant and relevant information for performers of Brazilian music, as well as flute teachers who seek to understand the history of the evolution of the style and the role of the flute in the choro. This document will include a brief history of the choro, a short biography of Joaquim Antonio Callado, a survey of eight selected compositions, and a conclusion. It will also include two appendices: Appendix I will briefly describe the history of the flute from ancient times until the Boehm flute. Appendix II will provide a complete list of Callado’s compositions in alphabetical order; the list will contain the titles and the style in which the pieces were composed.

This composition is a work for harpsichord (two players), flute, clarinet, violoncello and tape. In four sections, interspersed by three electronic interludes, the timbral interplay among the four live instruments is exploited, with particular emphasis being given to the sonic effects achieved by the careful manipulation of the interior of the harpsichord. As such, the two harpsichord players have distinctive roles in the ensemble: one of them operates the manuals in a more or less conventional fashion, while the other performs precisely indicated functions inside the instrument.The novelty of the latter activity has necessitated the invention of a few new notational symbols, which are employed throughout the score, Another uncommon notational device is the omission of bar lines, in an attempt to express the independence of contrapuntal lines within the piece.Ball State UniversityMuncie, IN 47306 / School of Music

This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. Despite this, no study has been undertaken into his life and many of his surviving instruments have not been studied. This study corrects this by examining both the biographical and organological aspects of this maker. In Chapter 1, the current knowledge of Lotz’s biography is examined for veracity. This has been achieved through consultation of archival sources such as birth and marriage registers and contemporary newspaper announcements. The biographies of the other significant Viennese makers have also been examined in order to determine their relationship to Lotz. Particular attention has been paid to those makers known to have associated with him. Chapter 2 is a comparative study of clarinets. The surviving clarinet by Lotz is the main focus, and it is compared to earlier Viennese instruments as well as other contemporary instruments in order to place Lotz’s instruments in context. Basset horns are the instruments for which Lotz is best known. Chapter 3 is a comparative study of the surviving basset horns, and includes instruments by Lotz which have not previously been studied. The comparative aspect of the study focuses most particularly on instruments by Doleisch, who also made significant numbers of basset horns in nearby Prague during Lotz’s lifetime. This chapter also includes a discussion on the basset clarinet. Chapter 4 studies Lotz’s work with bassoons and contrabassoons. As with Chapter 3, it includes a number of Lotz’s instruments which have not been studied before. It continues the comparative theme and examines not only Viennese instruments, but particularly those by August Grenser, whose bassoons are widely copied by modern makers. The attribution of the surviving flute by Lotz is examined in Chapter 5. Lotz’s involvement with the flute is examined through documentary evidence and the output of his students is examined in order to determine his level of influence on this instrument. Chapter 6 is a study of the two surviving oboe fragments by Lotz as well as the surviving cor anglais. As internal measurements have been impossible to obtain for many of these instruments, the comparative study has instead focussed on external aspects of decoration and design. The conclusion gives a summation of the evidence presented in the preceding chapters and is used to demonstrate Lotz’s unique contributions as an instrument maker and his impact on the future and design of woodwind instruments.