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The Commissioned Flute Choir Pieces Presented By
THE COMMISSIONED FLUTE CHOIR PIECES PRESENTED BY UNIVERSITY/COLLEGE FLUTE CHOIRS AND NFA SPONSORED FLUTE CHOIRS AT NATIONAL FLUTE ASSOCIATION ANNUAL CONVENTIONS WITH A BRIEF HISTORY OF THE FLUTE CHOIR AND ITS REPERTOIRE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yoon Hee Kim Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Katherine Borst Jones, Advisor Dr. Russel C. Mikkelson Dr. Charles M. Atkinson Karen Pierson Copyright by Yoon Hee Kim 2013 Abstract The National Flute Association (NFA) sponsors a range of non-performance and performance competitions for performers of all ages. Non-performance competitions are: a Flute Choir Composition Competition, Graduate Research, and Newly Published Music. Performance competitions are: Young Artist Competition, High School Soloist Competition, Convention Performers Competition, Flute Choirs Competitions, Professional, Collegiate, High School, and Jazz Flute Big Band, and a Masterclass Competition. These competitions provide opportunities for flutists ranging from amateurs to professionals. University/college flute choirs perform original manuscripts, arrangements and transcriptions, as well as the commissioned pieces, frequently at conventions, thus expanding substantially the repertoire for flute choir. The purpose of my work is to document commissioned repertoire for flute choir, music for five or more flutes, presented by university/college flute choirs and NFA sponsored flute choirs at NFA annual conventions. Composer, title, premiere and publication information, conductor, performer and instrumentation will be included in an annotated bibliography format. A brief history of the flute choir and its repertoire, as well as a history of NFA-sponsored flute choir (1973–2012) will be included in this document. -
2018 Available in Carbon Fibre
NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
N Ew Y O R K F Lu T E F a Ir 2021
The New York Flute Club Nancy Toff, President Deirdre McArdle, Flute Fair Program Chair The New York Flute Fair 2021 A VIRTUAL TOOLBOX with guest artist Julien Beaudiment Principal flutist, Lyon (France) Opera Orchestra Saturday and Sunday, April 10 and 11, 2021 via Zoom NEW YORK FLUTE FAIR 2021 BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary MAY YU WU, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE NICOLE SCHROEDER RAIMATO DIANE COUZENS LINDA RAPPAPORT FRED MARCUSA JAYN ROSENFELD JUDITH MENDENHALL RIE SCHMIDT MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, 2011-2012 Harold Jones, 1976-1979 Wendy Stern, 2012-2015 Patricia Zuber, 2015-2018 FLUTE FAIR STAFF Program Chair: Deirdre McArdle -
The Physicality of Sound Production on Acoustic Instruments
THE PHYSICALITY OF SOUND PRODUCTION ON ACOUSTIC INSTRUMENTS A thesis submitted for the degree of Doctor of Philosophy by Tristan Rhys Williams School of Arts Brunel University September 2010 (funded by the Arts and Humanities Research Council) Abstract This thesis presents practical research into sound production on instruments, working collaboratively with players, in order to build an understanding of the sounds available. I have explored the way in which instrumental technique can be extended in such a way as to function as the basis for musical material. The function of ‘figuration’ has also be brought into question, by employing seemingly primitive, residual material pushed to such a degree that it is possible to hear what happens underneath a gesture. Research in this area has been conducted by, among others, Helmut Lachenmann and Rebecca Saunders; I am drawn to the way their work highlights the tangible quality of sound. The exploration of the physicality of sound production inevitably encounters the problem that the finished work becomes a catalogue of extended techniques. My research has drawn on the work of these composers and has attempted to resolve this problem by exploring the way in which texture can suggest ‘line’ and the structural implications of sculpting self-referential material through angular and polarized divisions. This facilitates a Braille-like reading of a sound’s progress by foregrounding a non-thematic sound-surface of resonance and decay. This takes a positive and active approach to the problems of musical language, by questioning the functions and expectations put upon music. The possible solutions have been worked through in a series of works for mixed chamber ensembles, in order to investigate the palette possibilities of fusing instruments in intimate settings. -
Metamorphoses Curated by Claire Chase Soundbox
METAMORPHOSES CURATED BY CLAIRE CHASE SOUNDBOX 1 “Each of the pieces on this program explores, in different ways, the idea of metamorphosis, transformation, transfiguration—the ways that we take on new forms and ultimately transcend what we were before.” —Claire Chase 2 Esa-Pekka Salonen SAN FRANCISCO SYMPHONY MUSIC DIRECTOR San Francisco Symphony Music Director Esa-Pekka Salonen has, through his many high-profile conducting roles and work as a leading composer, shaped a unique vision for the present and future of the contemporary symphony orchestra. Salonen recently concluded his tenure as Principal Conductor & Artistic Advisor for London’s Philharmonia Orchestra and he is Artist in Association at the Finnish National Opera and Ballet. He is a member of the faculty of the Colburn School in Los Angeles, where he developed and directs the pre-professional Negaunee Conducting Program. Salonen is the Conductor Laureate for both the Swedish Radio Symphony Orchestra and the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009. Salonen co-founded— and from 2003 until 2018 served as the Artistic Director for—the annual Baltic Sea Festival. 3 The Orchestra Esa-Pekka Salonen, Music Director SECOND VIOLINS CELLOS Michael Tilson Thomas, Music Director Laureate Dan Carlson, Principal Vacant, Principal Herbert Blomstedt, Conductor Laureate Dinner & Swig Families Chair Philip S. Boone Chair Daniel Stewart, San Francisco Symphony Youth Helen Kim, Associate Principal Peter Wyrick, Associate Principal Orchestra Wattis Foundation Music Director Audrey Avis Aasen-Hull Chair Peter & Jacqueline Hoefer Chair Ragnar Bohlin, Chorus Director Jessie Fellows, Assistant Principal Amos Yang, Assistant Principal Vance George, Chorus Director Emeritus Vacant Vacant The Eucalyptus Foundation Second Century Chair Lyman & Carol Casey Second Century Chair FIRST VIOLINS Raushan Akhmedyarova Barbara Andres Alexander Barantschik, Concertmaster David Chernyavsky The Stanley S. -
A Place – a Time Eva-Maria Houben
a place – a time percussion (1 player) eva-maria houben © edition wandelweiser 2021 catalogue number ew16.359 a place – a time flying leaves for a percussionist eva-maria houben 2021 for aaron butler. a place: a place outdoors or indoors where you could have a good mind to spend a good time. a time: a time you spend at a certain place staying there for a while. maybe you are inviting the light, the wind, or the thunderstorm to enter. maybe you are inviting the rustling foliage, the run of water, the speaking stones, the branches, the birdsongs, the traffic, the working noises, or fragments of speaking voices or shouts to accompany you. finding a place filling the place with one’s own breath feeling the special atmosphere of the place putting together some loose sheets that could respond to this place performing—any order of the sheets, any order of the sounds on one sheet ending somehow, somewhen the score opens for all sounds of the environment. intervening and letting (something) happen have the same nature as intentional activities. the score touches both realms of actively doing something and actively letting something be. here and there undetermined instrumentation. all sounds are (rather) soft. repetition sign: number of repetitions ad libitum. all sounds find themselves in a one-line system. sometimes you find two, three or more sounds distributed above, on, or below the line: the different distances from the line for an instrument with pitched sounds indicate higher or lower (defined) pitches, not exactly a certain pitch. the sounds of an unpitched instrument appear in the same way in different distances from the line as different tones (of the material / instrument); this difference of ‘tones’ depends on different touch points. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn
AN INVESTIGATION OF NOVICE MIDDLE AND HIGH SCHOOL BAND DIRECTORS’ KNOWLEDGE OF TECHNIQUES AND PEDAGOGY SPECIFIC TO THE HORN Jennifer B. Daigle A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2006 Committee: Carol Hayward, Co-advisor Andrew Pelletier, Co-advisor Vincent J. Kantorski Charles Saenz © 2006 Jennifer B. Daigle All Rights Reserved iii ABSTRACT Carol Hayward, Advisor The purpose of this study was to determine novice middle school and high school band directors’ knowledge of techniques and pedagogy specific to the horn. Ten band directors currently teaching middle or high school band and who were in their first through fourth year of teaching were interviewed. Questions were derived from current brass methods textbooks and placed in one of the following six categories: (a) collegiate background; (b) teaching background; (c) embouchure, posture and right hand placement; (d) construction of single and double horns; (e) muted, stopped and miscellaneous horn pedagogy; (f) care and maintenance. Findings from this study indicate that novice middle and high school band directors have varying amounts of knowledge and expertise of the horn and, in general, are lacking fundamental knowledge of specific horn techniques. In addition, it appears that directors have more knowledge and understanding of concepts relating to the horn that are common to all brass instruments as opposed to concepts associated specifically with the horn. iv This thesis is dedicated to everyone who has helped inspire and motivate me to make music more than a hobby. I would like to thank family and friends for all their patience and encouragement throughout this process. -
A Guide to Extended Techniques for the Violoncello - By
Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques. -
The Heyday of the Hand Horn and the Birth of the Valved Horn: a Study of Nineteenth-Century Horn Technique As Revealed in the Solo Works for Horn by Carl Czerny
118 HISTORIC BRASS SOCIETY JOURNAL THE HEYDAY OF THE HAND HORN AND THE BIRTH OF THE VALVED HORN: A STUDY OF NINETEENTH-CENTURY HORN TECHNIQUE AS REVEALED IN THE SOLO WORKS FOR HORN BY CARL CZERNY Andrew Clark Rarely has one composer given us so much potential insight into a crucial historical devel- opment of an instrument as that revealed by the works for horn and piano by Carl Czerny. The Introduction and Concertante Variations, Op. 248, written for valved horn ca. 1830 demonstrates Czerny’s knowledge of valve technology, but subsequently he composed for the natural (valveless) horn in the Brilliant Fantasies, Op. 339 (ca. 1836), and the Andante e Polacca (no opus number, 1848). We do not know exactly why he seemed to turn his back on the new development of valves, but we can learn some of his thoughts and feelings about the use of the horn from his School of Practical Composition, Op. 600 (first published 1839). In the English version of 1846 there are several points in the main section on the use of the natural horn, but he refers to brass instruments with valves only in the appendix, where he gives an outline of the “Sax Horn” family. This is how he perceived the duet combining piano and horn, a popular form of nineteenth century salon music: The wind instruments most generally combined with the Pianoforte … are the Flute and the Horn.…The Horn … is especially adapted for calm sus- tained notes, for tender or melancholy ideas, or for an expression of energy and grandeur.… Beethoven, Ries, Hummel and many modern writers have produced distinguished examples.1 Regarding the use of the hand-stopped notes on the natural horn, he informs the reader: In modern times, the Horn has been so greatly improved that the artificial notes sound as well and as firm as the natural ones.2 He adds that the bass notes “are only used slowly and piano,” but fails to follow this advice several times in these works! The Introduction and Concertante Variations is one of the first works ever written for the solo valved horn and piano. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.