Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

Studiens syfte är att synliggöra hur föräldrar upplever sin delaktighet i sitt barns musicerande på tvärflöjt. Studien är främst kvalitativ med pragmatismen som teoretisk utgångspunkt. I studien genomfördes och användes fyra halvstrukturerade intervjuer med föräldrar vars barn spelar tvärflöjt som underlag för analys. Studien använde sig också av en kvantitativ metod då en enkät användes för en närmare undersökning av fältet och som inspiration till intervjufrågorna. Enkäten vände sig till vårdnadshavare vars barn spelar tvärflöjt och besvarades av 64 personer. Resultatet visar att föräldrar upplever sin delaktighet i sitt barns musicerande genom att på olika sätt vara delaktig i barnets musicerande bland annat genom att visa intresse och lösa barnets problem som uppkommer i samband med musicerandet på tvärflöjt. Resultatet visar också att föräldrarna upplever utmaningar i att vara delaktig i sitt barns musicerande på tvärflöjt främst på grund av föräldrarnas musikaliska kunskaper men också tid och ork. Slutsatsen är att föräldrar upplever sin delaktighet som varierande i sitt barns musicerande men att deras attityd och uppfattning kring musik och barnets musicerande är genomgående positiv. / The aim of this study is to make visible how parents experience their involvement in their kid’s flute playing. The study is a qualitative study with pragmatism as its theoretical framework. In this study four half structured interviews with parents whose kids play the flute was used as basis for the analysis. This study also used a quantitative method in the form of a survey that was used to examine the field and for inspiration for the interview questions. The survey was directed to parents whose kids play the flute and was answered by 64 parents. The result of this study shows that parents experience their involvement in their kid’s flute playing by being involved in different ways for example by showing interest and to solve their kid’s problems that arise when the kid is playing the flute. The result also shows that parents experience challenges in their involvement with their kids playing the flute mostly because of their limited musical knowledge but also because of lack of time and energy. The conclusion of this study is that parents experience their involvement in their kid’s flute playing as variated but that the parent’s attitude and perception of music and the fact that their kids are playing the flute is throughout positive.

In dem Titel "wELten ERleBEn" stecken - bei Berücksichtigung der Großbuchstaben - die Wörter ERBE und ELBE. Ein Beitrag zum Welterbetag 2009, in dem die Schönheit der Landschaft sowie ihre Bedrohungen (Hochwasserkatasgtrophe 2002, Bau der Waldschlösschenbrücke) zum Klingen gebracht wird, ohne den Hörer auf eine einseitige Deutung festzulegen. Uraufführung: 6. Juni 2009 in Dresden

A high spatial resolution acoustic directivity acquisition system (ADAS) has been developed to acquire anechoic measurements of the far field radiation of musical instruments that are either remote controlled or played by musicians. Building upon work performed by the BYU Acoustic Research Group in the characterization of loudspeaker directivity, one can rotate a musical instrument with sequential azimuthal angle increments under a fixed semicircular array of microphones while recording repeated notes or sequences of notes. This results in highly detailed and instructive directivity data presented in the form of high-resolution balloon plots. The directivity data and corresponding balloon plots may be shown to vary as functions of time or frequency. This thesis outlines the development of a prototype ADAS and its application to different sources including loudspeakers, a concert grand piano, trombone, flute, and violin. The development of a method of compensating for variations in the played amplitude at subsequent measurement positions using a near-field reference microphone and Frequency Response Functions (FRF) is presented along with the results of its experimental validation. This validation involves a loudspeaker, with known directivity, to simulate a live musician. It radiates both idealized signals and anechoic recordings of musical instruments with random variations in amplitude. The concept of coherence balloon maps and surface averaged coherence are introduced as tools to establish directivity confidence. The method of creating composite directivities for musical instruments is also introduced. A composite directivity comes from combining the directivities of all played partials to approximate what the equivalent directivity from a musical instrument would be if full spectral excitation could be used. The composite directivities are derived from an iterative averaging process that uses coherence as an inclusion criterion. Sample directivity results and discussions of experimental considerations of the piano, trombone, flute, and violin are presented. The research conducted is preliminary and will be further developed by future students to expand and refine the methods presented here.

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Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists performers unfamiliar with the traditions of Andean music to identify and understand the implicit Andean roots in both works and develop techniques to accurately represent sounds of Andean Peruvian traditions, with a deeper, culturally informed interpretation of this music.

British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites interpretation blending and altering traditional sounds through microphones and a processed signal flow. The performance guide will address acoustical considerations when the flute sound is being manipulated by dynamic and time-based processors in live performance; the interaction between the flute, electronics and acoustic spaces; the elements of sound production that provide interpretation of contemporary popular styles; and the opportunities for the performer to find, explore and develop artistry beyond the limitations of music notation.

This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts & Musicology / M. Mus.