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Abstract In 1934, the French flute pedagogue Marcel Moyse (1889–1984) published his celebrated De la sonorité, a method book that aimed to provide a technical groundwork through which flute players could emulate the expressive powers and control of tone displayed by exponents of the operatic singing technique bel canto. This critical commentary sets De la sonorité in both aesthetic and historical contexts, examining the ways in which Moyse made use of the human voice, and more specifically bel canto, as a model for flute players and instrumentalists in general. It is clear that Moyse’s own experience in opera orchestras and exposure to opera repertoire and singers influenced his teaching style and publications. In addition to De la sonorité, he published two volumes of opera arias transcribed for the flute (in 1962 and 1973) which suggest that bel canto, the opera and the flute were all related in his mind. Indeed, it is possible to significantly enhance our understanding of De la sonorité if it is viewed from the perspective of its vocal influences. Historical references advocate the use of the voice as a model for expression because it is the vehicle through which emotions are expressed. As a result Moyse extolled this “natural way” in his teachings. Exploring bel canto establishes similarities to flute playing both aesthetically and technically. The exercises contained in De la sonorité enable the player to work towards producing a homogeneous and focused sound with ease through the entire register of the instrument at any dynamic level. Alongside a discussion of the five sections that make up De la sonorité (“Timbre and Homogeneity of Tone in the Three Registers,” “Suppleness in the Low Register,” “Attack and Slurring of Notes,” “Fullness of Tone” and “The Management of Tone in Interpretation”) the present study includes a practical performance-based perspective with commentary on Moyse’s approach from three leading flute players and pedagogues currently working in Australia: James Kortum, Lecturer in Flute at the Sydney Conservatorium of Music; Alan Hardy, Lecturer in Flute at The University of Melbourne; and Prudence Davis, Principal Flute with the Melbourne Symphony Orchestra.

Abstract In 1934, the French flute pedagogue Marcel Moyse (1889–1984) published his celebrated De la sonorité, a method book that aimed to provide a technical groundwork through which flute players could emulate the expressive powers and control of tone displayed by exponents of the operatic singing technique bel canto. This critical commentary sets De la sonorité in both aesthetic and historical contexts, examining the ways in which Moyse made use of the human voice, and more specifically bel canto, as a model for flute players and instrumentalists in general. It is clear that Moyse’s own experience in opera orchestras and exposure to opera repertoire and singers influenced his teaching style and publications. In addition to De la sonorité, he published two volumes of opera arias transcribed for the flute (in 1962 and 1973) which suggest that bel canto, the opera and the flute were all related in his mind. Indeed, it is possible to significantly enhance our understanding of De la sonorité if it is viewed from the perspective of its vocal influences. Historical references advocate the use of the voice as a model for expression because it is the vehicle through which emotions are expressed. As a result Moyse extolled this “natural way” in his teachings. Exploring bel canto establishes similarities to flute playing both aesthetically and technically. The exercises contained in De la sonorité enable the player to work towards producing a homogeneous and focused sound with ease through the entire register of the instrument at any dynamic level. Alongside a discussion of the five sections that make up De la sonorité (“Timbre and Homogeneity of Tone in the Three Registers,” “Suppleness in the Low Register,” “Attack and Slurring of Notes,” “Fullness of Tone” and “The Management of Tone in Interpretation”) the present study includes a practical performance-based perspective with commentary on Moyse’s approach from three leading flute players and pedagogues currently working in Australia: James Kortum, Lecturer in Flute at the Sydney Conservatorium of Music; Alan Hardy, Lecturer in Flute at The University of Melbourne; and Prudence Davis, Principal Flute with the Melbourne Symphony Orchestra.

During the early 19th century, the flautist became known as a frivolous “dandy” figure whose extravagant appearance suited his light and virtuoso playing. He becomes a so-called professional virtuoso, generating his own income in the absence of aristocratic patronage while entertaining the rising bourgeois public, who demands light yet virtuoso performances. Many artists are disillusioned in this sphere where the arts seem to be reduced to something that is merely utile to the public – a form of entertainment; a social tool. The greatest concern of writers and poets is that the universal truth of their modern reality will not be expressed in art. It becomes the quest of these seemingly disempowered intellectuals to fight this tendency and to express the existential anguish, uncertainty and ennui of the modern materialist society through their art. It is against this background that the concept of the flautist as “aristocratic virtuoso” is developed. This idea opposes the concept of the “professional virtuoso” of the early 19th century. In this society where artists have to find their voice without the support of the aristocratic classes, 19th century disillusioned poet Charles Baudelaire develops the concept of a symbolic cultural aristocracy, wherein the artist is a privileged outsider “on the inside”; a spectator who takes up all of everyday existence, and transforms it into a profound poetic reality. It is with this theory in mind that I develop my thesis of the flautist as aristocratic virtuoso – a figure who captures the universal beauty of his time through his music and shares it with his audience. This dissertation is, therefore, a study of the events that brought about this re-definition of the role of the flautist in the 19th century. It explores the contribution of prominent composers, the impact of the Société Nationale de Musique Française and the French Flute School, as well as the development of the instrument. AFRIKAANS : Gedurende die vroeë 19de eeu onderskei die fluitis hom as ‘n byna windmakerige “dandy” figuur; sy fisieke voorkoms passend by sy ligte, dartelende tog uiters virtuose spel. Hierdie vroeë 19de eeuse fluitis staan bekend as die professionele virtuoos, omdat kunstenaars nie meer die beskermheerskap van die aristokrasie geniet nie, en vir hulle bestaan afhanklik word van die bourgeois publiek wat indrukwekkende, dog verteerbare vermaak van musici vereis. Verskeie kunstenaars voel vervreem in hierdie sfeer waarbinne die kunste gereduseer word tot iets wat “van nut” is vir die publiek. Die grootste kommer van skrywers en digters is dat dit wat van universele waarde in die realiteit van hulle epog is, nie tot uitdrukking kom in die kunste nie. Skrywers en intellektuele voel hulleself ontmagtig en dit word hulle doel om teen hierdie tendens te stry en deur hulle kuns die eksistensiële angs, onsekerheid en leegheid van die moderne materiële bestel uit te beeld. Dit is in hierdie denkraamwerk dat die konsep van die fluitis as “aristokraat virtuoos” sy oorsprong het. Hierdie idee staan vanselfsprekend in teenstelling met die “professionele virtuoos” van die vroeë 19de eeu. In ʼn samelewing waar die kunste sonder die reële gegewe van die aristokratiese beskerming en bevordering ʼn medium moet vind waarbinne hulle eie moderniteit uitgedruk kan word, ontwikkel die 19de eeuse ontnugterde digter Charles Baudelaire die konsep van ʼn nuutgevonde simboliese “kulturele” aristokrasie. Hy ontwikkel ʼn interessante dualiteit rondom die kunstenaar wat as bevoorregte objektiewe buitestaander ten nouste betrokke is by die samelewing en wat daarvoor verantwoordelik is om die tydelike met die ewige te verbind deur sy/haar kuns. Dis vanuit hierdie idee dat ek ʼn saak maak vir die fluitis as aristokraat virtuoos – as figuur wat binne die medium van musiek die skoonheid van sy tyd vasvang en met sy gehore deel. My studie is dus ‘n ondersoek rondom die gebeurtenisse wat hierdie hervorming in die 19de eeu meebring. Ek bestudeer komponiste wat ‘n belangrike bydrae lewer tot die fluitrepertorium, en ondersoek die stigting van die Société Nationale de Musique Française en die Franse Fluitskool, en die ontwikkeling van die instrument self. Copyright / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

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