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49 the Materials and Methods Employed '49 THE MATERIALS AND METHODS EMPLOYED IN THE PEDAGOGY OF WOODWIND INSTRUMENT CLASSES AT THE COLLEGE LEVEL THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By JTack W. Hudgins, Tr., B. M. DalJ Txas August, 1949 TABLE CF CONTENTS Page . v LIST OFPLATES.. LIST OFILLUSTRATIONS.. vi . Chapter I. INTRODUCTION . Statement of Problem Significance of Subject Method of Investigation method of Presentation II. THdE BCEHiM SY; TEM FLUTE . 3 History Care of the Flute Production of Tone and Embouchure Suggested Studies for the Flute III. TE BOEThISYST iX CLARINET . 20 History Care of the Clarinet Production of Tone and Embouchure Suggested Studies for the Clarinet IV. THE CONSERVAT" RY SYST 1IOBOE . .. 37 History Care of the Oboe Production of Tone and Embouchure Suggested Studies for the Oboe V. T E IECIEL SYSTEI11 BASSOON . 54 History Care of the Bassoon Production of Tone and Embouchure Suggested Studies for the Bassoon iii TABLE OF CONLTELNTS--Continued VI. CLAS3 ROCt PRGCEDU..V.C.ID. .l. .. 69 Classes of Similar Instruments Classes of Combined Instruments Suggested Studies for Combined Classes Conclusions BIBLIOGRAPHY. 0.0.0 . 74 iv LIST OF PLATES Plate Page 1. Correct Positions for Playing the Flute .. 16 2. Correct Positions for Playing the Clarinet . 32 3. Correct Positions for Playing the Oboe - . 50 4. Correct Positions for Playing the Bassoon . 66 V LIST OF ILLUSTRATIONIS Figure ge 1. The Double Flute . 4 2. Panpipes of the Late Prehistoric Era - . 5 3. English Recorder of the Twelfth Century. .. 5 4. Transverse Flute or "German" Flute . 6 5. Seventeenth Century Transverse Flute . 7 6. Flute of 1847 by Theobald Boehm . 9 7. Modern Boehm System Flute . 11 8. Front View--Correct Position of the Flute on tieLips-. e.g-.-.-.-.-.-. 15 9. Side View--Correct Position of the Flute on the Lips-.......-...........- .....-.. 15 10. Chalumeau of the Middle Ages . 20 11. Clarionet of the Eighteenth Century . 21 12. Modern Boehi System Clarinet . 26 13. Correct Position of the Clarinet on the Lips.....-.......................... .30 14. Correct Position for Tonguing . 31 15. Arabian Oboe "Zmar"-...........-.-.- .39 16. Fourteenth Century Shawra . .. 41 17. Sixteenth Century Shaaa . 41 18. Late Seventeenth Century Oboe - .- 43 19. Oboe of the Late Eighteenth Century by Milhouse........................... 44 vi LIST OF ILLUSTRATION$--Continued 20. Modern Conservatory System Oboe.......... 45 21. Position of Reed in the Mouth . 48 22. Correct Position for Tonguing . 48 23. Phagotum of the Sixteenth Century..... 55 24. Bass Ponmier of the Seventeenth Century . .. 56 25. Bassoon of the Eighteenth Century - . .. 58 26. Modern Heckel System. .Bassoon. 60 . 27. Position of Reed .in. the. 64 Mouth . 28. Correct Position for Tonguing.. 65 vii CHAPTER I INTRODUCTION Statement of Problem It is the purpose of this thesis to present some of the material to be employed in the pedagogy of the wood wind instrument classes at the college level in order that this material may serve as a useful and beneficial guide for the students and teachers of the woodwind instrument classes. Significance of Subject This study has been prepared in the belief that a most serious obstacle in the teaching of woodwind instru ment classes is the lack of a comprehensive text dealing with the fundamentals underlying the selection of teaching materials to be used. In a large number of instances young teachers are confronted with the necessity of developing a woodwind department in their schools without having had any systematic preparation for the task. This thesis attempts to meet this need. The subsequent study is an outgrowth of the writer's own efforts to develop a course in the teaching of woodwind classes at the college level plus several years of experience 1 2 as a performer and student of the woodwind instruments. It is presupposed that the teacher has some acquaintance with the various woodwind instruments, some background in the fundamental philosophy underlying present-day education, and some training in those aspects of general musicianship which are indispensable for success in any field of musical endeavor. Method of Investigation The method of investigation was through research in available teaching material and practical experience. Information on each method was formulated according to format, immediate musical value, permanent musical value, and educational value. Method of Presentation The results of this investigation will be presented in seven main sections: (1) the introduction, which includes the significance of the subject and the method of procedure, (2) the Boehm System Flute, (3) the Boehm System Clarinet, (4) the Conservatory System Oboe, (5) the Heckel System Bassoon, (6) class room procedure, and (7) bibliography. Chapters II, III, IV, and V include material on the historyof the instrument, care of the instrument, produc tion of tone and embouchure, and suggested studies. CHAPTER II THE BOEHM SYSTEM FLUTE History It is often assumed that the flute is the oldest of all musical instruments. The fundamental principle of the flute was probably discovered thousands of years ago by some Neanderthal or Cro-Magnon man when he noticed that the soft wind blowing across the top of a broken reed made a pleasant sound. However, the origin of the flute is lost in the mists of antiquity, and its early history is extremely difficult to trace. "Several ancient writers attribute the origin of the flute to Osiris, the Egyptian Water-God."l Primitive flutes have been found in Egyptian tombs that date several centuries before the Christian era. Flutes have existed in Sumer, Islam, Mexico, and South America, where they were frequently made of clay. Early Egyptian wall paintings depict the flute more than any other instrument. It was a long, thin, straight pipe (called Saib, or Sebi) held obliquely and blown across the open end, which was held at an angle. "As a more H. Macaulay Fitzgibbon, The Stor of the Flute, p. 4. 3 4 primitive instrument, however, it was known from prehistoric days when it was probably used for trapping birds by imi tating their song as it has since been used for teaching 2 them to sing." It is assumed that from this practice it received the name of Recorder, the phrase "to record" being applied to the notes of birds. The double flute, as shown in Figure 1, was used by the ancient Greeks and Romans in almos t every scene 'of life. It was played at joyous festivities, the Olympic games, sacri Fig. I--The double flute fices, and even at death-beds and funerals. The date of this flute was about 283 B. C. After man had conceived the idea of blowing across the top of a pipe to get one note, he discovered that if he put several pipes together he could get the whole scale. These pipes all together were called Panpipes, after Pan, the Arcadian woodland spirit and god of the hills. In later prehistoric times we find that the Panpipes show a distinct 2 Francis W. Galpin, Old English Instruments of Music, p. 139. 5 advance in their mechanism, for one or more holes for the fingers were provided, whereby the pitch of the sounds could be altered. Figure 2 shows the Panpipes with the holes for the fingers. Fig. 2--Panpipes of the late prehistoric era With the extinction of the ancient Egyptians, Greeks, and Romans there is a gap in the history of the flute. There is nothing about the flute until about the twelfth century when it appeared as the flute-a-bee, so called from the resemblance of the mouth-piece to the beak of a bird. There were many varieties of this instrument, the English one being called Recorder (Figure 3). Fig. 3--English Recorder of the twelfth century 6 The Recorder was an open pipe with a fipple head and mouthpiece like a whistle, having seven finger holes and a thumb-hole at the back. There were complete sets of recorders ranging in size and pit ch from sopranino to double bass, the latter being over eight feet in length. A complete set consisted of eight instruments, and a full flute band numbered twenty-one players. These instruments enjoyed great popularity throughout Europe as late as 1750, but by 1800 the recorder had begun to be replaced by the new transverse of "German" flute as shown in Figure 4. Fig. 4--Transverse flute or "German" flute The transverse or side-blown flute was formerly thought to be comparatively modern, but more recent dis coveries tend to prove that it was known in Europe early in the Christian era. There is no authentic evidence available among the numerous relics of the ancient Greeks, Romans, or Egyptians to verify the existence of the transverse flute in pre-Christian Europe. The transverse 7 flute apparently made its first appearance in Europe during the tenth and eleventh centuries, and is generally said to be of Swiss origin. Early illustrations represent the transverse flute as a cylinder of equal diameter throughout, with very small finger-holes and without any joints. The two lines above the mouth-hole were evidently only for ornament (Figure 5). It is, however, to be observed that the bore Fig. 5--Seventeenth century transverse flute of the earliest Cross-Flutes was cylindrical; but towards the close of the seventeenth century, though the head joint remained the same, the rest of the tube was made conical and smaller at the open end than where it fitted into the head joint, an alteration which was probably the work of Hotteterre, the French flute-maker. The flute remained in this form until 1847, when Boehm set to work to improve the bore of the flute.
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