DOCSLIB.ORG

2017 NYFC Competition: Meet the Winners

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2017 NYFC Competition: Meet the Winners April 2017 2017 NYFC Competition: Meet the Winners ENIS SAVELYEV, age 25, was born Institute of America, the Morgan Library, spent his final year of high school at the Din Lviv, Ukraine and came to the the Moscow Music House, the University Interlochen Arts Academy, where he was USA three years ago to earn his MM of Nevada, and Weill Hall at Carnegie a student of Nancy Stagnitta. In 2016, Mr. and Professional Studies Diploma at the Hall, where he gave the world premiere Blanchard received his bachelor’s degree Mannes School of Music, where he studied of his own arrangement for the flute of from Rice University in Houston, TX, with Judith Mendenhall. He began Virko Baley’s Partita for violin and piano. where he studied with Leone Buyse at the studying the flute at age five and was He has also been soloist with the Lviv Shepherd School of Music. He is currently awarded a place Philharmonic, Uzhgorod Philharmonic, pursuing his master’s degree at the Juilliard at the Gnessin and Kiev Philharmonic in Ukraine. School, where he studies with Robert Academy of Music Langevin. in Moscow, where AMES BLANCHARD, age 23, was born he earned a special Jand raised in Las Cruces, NM and began ATTHEW ROSS, age 23, is a NY- music diploma as playing the flute Mbased flutist who has won prizes a student of Albert at the age of 10, in the Raleigh, Byron Hester, Mid-South, Hoffman. He has receiving private South Carolina, held orchestral instruction from Myrna Brown, and positions with the Katie Tomicek Yamaha Young Mariinsky Theater and from Lisa Artist competitions. First Prize in Vladivostok, van Winkle of He has performed the Galina New Mexico with the Civic Or- Vishnevskaya State University. chestra of Chicago, Opera Center and Kremlin Orchestra in Following two Queen City Cham- Moscow, and the New York Symphonic summers at ber Opera, and the Ensemble on its 2016 Japanese tour. As a the Interlochen Second Prize Dayton Philhar- soloist, he has performed at the Ukrainian Arts Camp, he monic. He was Third Prize asked to premiere Glen Cortese’s work “…on further reflec- In Concert tion” at the 2012 National Flute Association Winners of the NYFC Competition convention in Las Vegas, and he will be Sunday, April 30, 2017, 5:30 pm returning as a presenter and recitalist at this summer’s NFA convention in Minneapolis. Engelman Recital Hall, Baruch Performing Arts Center, 55 Lexington Avenue www.rossflute.com (entrance on East 25th Street between Lexington and Third Avenues) IN THIS ISSUE Program Matthew Ross (3rd prize), flute; Denise Fillion, piano 2017 NYFC Competition: Meet the Winners......1 Aria, Op. 48, No. 1 Ernö Dohnányi (1877–1960) From the President: You CAN Teach a Dog Sonate en Concert, Op. 64 László Lajtha (1892–1963) New Tricks... by Patricia Zuber......................................2 I. Entrée avec deux cadences Member Profile: Annie Nikunen.........................3 James Blanchard (2nd prize), flute; Nathan Raskin, piano Flute Fair Recap Suite, Op. 34 Charles-Marie Widor (1844-1937) Kuijken Masterclass Notes by Patricia Zuber...........................................5 Memorable Moments Denis Savelyev (1st prize), flute; Olga Gurevich, piano by Matthew Cuji, Adrianne Greenbaum, Sonatine Henri Dutilleux (1916-2013) Kristen Gygi, Wendy Stern, & Mark Vickers....6 En bateau Claude Debussy (1862-1918) Photo Album Fantaisie on Der Freischütz Paul Taffanel (1844-1908) by Ardith Bondi, Nicole Camacho, Brian Valse Caprice Daniel S. Wood (1872-1927) Klasewitz, Joe Melhado, & George Potanovic...7 Program subject to change Announcements The NYFC thanks Phil Unger of the Flute Center of New York for funding Flute Happenings...................................................3 the first prize of the 2017 NYFC Competition. Young Musicians Contest Winners........................4 Ensemble Program Update....................................5 2 — NYFC Newsletter You CAN Teach an Old Dog New Tricks... by Patricia Zuber s much as I detest the ageism in our society (especially Ain the freelance flute world!), I admit to being an old THE NEW YORK FLUTE CLUB INC. dog. This is not something I am ashamed of, and I embrace 2016–2017 the title because I know in my heart that I am an old dog Board of Directors who has never stopped wanting to learn and improve. Our Patricia Zuber, President last flute fair was an opportunity to do just that. Wendy Stern, First Vice President My day started at Mindy Kaufman’s warmup class. We Nancy Toff, Second Vice President played the classics—Taffanel-Gaubert scales and Moyse Deirdre McArdle, Recording Secretary tone studies, but Mindy introduced me to exercise No. 13 Katherine Saenger, Membership Secretary from Moyse’s Studies and Technical Exercises for the Flute Rie Schmidt, Treasurer From the (Alphonse Leduc). I love that exercise. In all my years of Carla Auld Nicole Camacho President playing the flute I never worked from that book. What a Yevgeny Faniuk Kaoru Hinata great discovery! Fred Marcusa Linda Rappaport I then attended Thomas Baird’s “Baroque Dance for Nicole Schroeder Malcolm Spector Musicians.” How wonderful to dance with flutists of all ages. Luckily, I had a flute Mary-Ann Tu David Wechsler teacher who danced in lessons to show the natural accents of the beats. I always think about him when I play a dance movement. It was interesting to learn the Advisory Board Jeanne Baxtresser Stefán Höskuldsson steps to the half measure upbeat of the Baroque gavotte and actually dance it to Robert Langevin Gerardo Levy see how it felt. Marya Martin Judith Mendenhall Michael Parloff Jayn Rosenfeld Renée Siebert Past Presidents Georges Barrère ................. 1920– 1944 John Wummer ..................... 1944– 1947 Milton Wittgenstein ........... 1947– 1952 Mildred Hunt Wummer ..... 1952– 1955 Frederick Wilkins ............... 1955– 1957 Pat Zuber at Thomas Baird’s Baroque Dance workshop. Photo: Brian Klasewitz Harry H. Moskovitz ............. 1957– 1960 Paige Brook .......................... 1960– 1963 Then I was off to Barthold Kuijken’s masterclass. I was cursing myself that Mildred Hunt Wummer .... 1963– 1964 I did not bring my Bach sonatas with me to make note of all his suggestions. Maurice S. Rosen .............. 1964– 1967 I remembered I had seen a book of the piano parts to the Bach sonatas for $1 Harry H. Moskovitz ........... 1967– 1970 at the Club’s tag sale table so I ran down and bought it and dashed back up Paige Brook ......................... 1970– 1973 to jot down my notes. A number of Eleanor Lawrence .............. 1973– 1976 people who were unable to make the Harold Jones ....................... 1976– 1979 masterclass have asked me for these Eleanor Lawrence .............. 1979– 1982 Paige Brook ......................... 1982– 1983 notes! [See p. 5—Ed.] John Solum ......................... 1983– 1986 A friend brought me a sandwich, Eleanor Lawrence .............. 1986– 1989 which I gobbled down in record Sue Ann Kahn .................... 1989– 1992 time. Then I met a student who was Nancy Toff ........................... 1992– 1995 purchasing a flute and went through Rie Schmidt ......................... 1995– 1998 the exhibits with him and his father. Patricia Spencer .................. 1998– 2001 And, by the way, he found a superb Jan Vinci ................................ 2001– 2002 flute. Jayn Rosenfeld .................... 2002– 2005 At 2:30 pm, I dashed off to the David Wechsler..................... 2005–2008 “Sounds of Spring” concert and heard Nancy Toff..................... ....... 2008–2011 John McMurtery................. 2011–2012 wonderful orchestral flutists. At this Wendy Stern................... ..... 2012–2015 point in the day, I felt like I had just completed a triathlon! Then I lost my Newsletter phone and proceeded to run all over Katherine Saenger, Editor the place. After locating the phone it 115 Underhill Road was time for the gala concert, so with Annie Kuijken at Barthold Kuijken’s mas- Ossining, NY 10562 every muscle aching I found a seat. terclass (Laura del Sol Jimenez seated in 914-762-8582 background). Photo: Ardith Bondi [email protected] Barthold Kuijken performed Baroque masterpieces very softly and exquisitely. www.nyfluteclub.org Each note was held together with a strand of aural silk and the entire audience Copyright © 2017 by The New York Flute Club, Inc., was caught in his web. You could hear a pin drop and feel the energy of the unless otherwise noted. All rights reserved. performers and listeners. It was an exhilarating and relaxing experience. It was a concert I will never forget. Follow us on twitter @nyfluteclub So yes, you can teach an old dog new tricks. Here’s the science to prove it: Go to New York Flute Club on Facebook and hit the Like button to https://www.psychologytoday.com/blog/canine-corner/201602/you-can-teach-old- stay up to date on Club events. Members are invited to post and comment on the forum. Nicole Camacho, NYFC Social Media Chair dog-new-tricks April 2017 — 3 FLUTE Member Profile Degrees: BA in music, through the Columbia Music Performance Program HAPPENINGS (Barnard College, expected 2020). Annie Most notable and/or personally satisfy- APRIL ’17 ing accomplishment(s): Being selected Nikunen as drum major of the 300-plus North- Apr. port High School Tiger Marching 28 Tuesday 8:00 pm NYFC Member since Band, and conducting the field show The Musicians of Lenox Hill, with 2016 at the Newsday Marching Band Festi- SOO-KYUNG PARK, flute, will perform the val (“It’s a job that comes with count- 17th Annual Levy Memorial Chamber Music less responsibilities on many fronts: Concert. Program includes André Previn’s Employment: First-year undergraduate Peaches for flute and piano, Andrey Rubstov’s at Barnard College of Columbia Univer- blowing the whistle to begin my final Divertimento for flute and string quartet, plus sity in NY. show—and conducting it—was a cul- other works for strings and piano. mination of years of teamwork and • Temple Israel of the City of New York, A recent recital/performance: In Febru- collaboration.”); managing to success- 112 E.
Load more

Recommended publications
  • 1 FLUTE MUSIC THROUGHOUT the YEARS by Katerina Koloustroubis A
    FLUTE MUSIC THROUGHOUT THE YEARS by Katerina Koloustroubis A Senior Honors Project Presented to the Honors College East Carolina University In Partial Fulfillment of the Requirements for Graduation with Honors by Katerina Koloustroubis Greenville, NC May, 2018 Approved by: Dr. Christine Gustafson College of Fine Arts & Communication, School of Music, Instrumental Studies 1 Introduction To fulfill the Senior Honors Project requirements, I have chosen to partake in a senior recital performance of flute works from a range of eras, genres, and styles. As I began my musical journey at the mere age of three, music has played a vital role in shaping my cognitive and emotional status. Not only did piano and ultimately flute studies enhance my overall academic performance through nurturing a hierarchical understanding of notated rhythmic sequences (“Music and Spatial Task Performance” 611), but was a personal means of emotional expression. Thus, for my Senior Honors Project, I have decided to share this passion with an audience through performing a compilation of flute repertoire from a wide range of styles. Not only will this signify a milestone in my 18 years of musical studies, but will provide an enjoyable, emotional experience for the audience members. After all, sharing the soul of a work is the foremost purpose of creating music. This Senior Capstone performance will require me to access my toolbox of skills accumulated through countless lessons, rehearsals, master classes, auditions, competitions, and performances. Not only will this apply to the actual production of flute music, but also performance practices such as etiquette, stage presence, and wearing proper attire.
    [Show full text]
  • The Significance of Vladimir Tsybin and His
    THE RUSSIAN TAFFANEL: THE SIGNIFICANCE OF VLADIMIR TSYBIN AND HIS CONCERT ALLEGRO NO. 3 Inna Staneva, B.M., M.M Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2014 APPROVED: Dennis Fisher, Major Professor Warren Henry, Committee Member Terri Sundberg, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music Richard Sparks, Chair of the Department of Conducting and Ensembles James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Staneva, Inna. The Russian Taffanel: The Significance of Vladimir Tsybin and His Concert Allegro No. 3. Doctor of Musical Arts (Performance), December 2014, 54 pp., 10 musical examples, references, 130 titles. The purpose of this critical essay is to introduce Vladimir Nikolaevich Tsybin to English-speaking readers and flutists, specifically to demonstrate how his Russian identity informed his career, affected his posthumous legacy, and influenced his compositions. The essay is divided into three parts: an outline of his career, a discussion of the pedagogical lineage and techniques he founded, and an analysis of "Russian" elements in one exemplary composition for solo flute, his Concert Allegro No. 3. Copyright 2014 by Inna Staneva ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ........................................................................................... iv CHAPTER 1 INTRODUCTION ............................................................................................... 1 Purpose
    [Show full text]
  • Franck Saint-Saëns Widor Duruflé
    FRENCH WORKS F O R FLUTE FRANCK SAINT-SAËNS WIDOR DURUFLÉ ADAM WALKER FLUTE TIMOTHY RIDOUT VIOLA JAMES BAILLIEU PIANO Charles-Marie Widor, c. 1875 c. Charles-Marie Widor, Anonymous portrait, now in a private collection / Heritage Images / Fine Art Images / AKG Images, London Camille Saint-Saëns (1835 – 1921) 1 Romance, Op. 37 (1871) 6:50 in D flat major • in Des-Dur • en ré bémol majeur for Flute and Piano Moderato assai César Franck (1822 – 1890) Sonata, M 8 (1886) 28:57 in A major • in A-Dur • en la majeur for Piano and Violin Edited for Piano and Flute by Jean-Pierre Rampal 2 I Allegretto ben moderato 6:24 3 II Allegro – Quasi lento – Tempo I (Allegro) – Poco più lento 8:21 4 III Recitativo-Fantasia Recitativo. Ben moderato – Molto lento – Poco animato – Fantasia. A tempo moderato – Largamente – Recitativo. Molto lento e mesto 7:33 5 IV Allegretto poco mosso 6:38 3 Camille Saint-Saëns Airs de ballet d’Ascanio (1887 – 88) 4:09 in F major / A major • in F-Dur / A-Dur • en fa majeur / la majeur Adagio et Variation pour la flûte [avec piano] (Adagio and Variation for Flute [with piano]) from the Opera Ascanio 6 Poco adagio – Espressivo – Molto espressivo – 2:32 7 Andantino 1:36 Charles-Marie Widor (1844 – 1937) Suite, Op. 34 (1877) 18:22 in C minor • in c-Moll • en ut mineur for Flute and Piano À Paul Taffanel 8 I Moderato – Vivo – Tempo I – Vivo 4:16 9 II Scherzo. Allegro vivace 2:53 10 III Romance.
    [Show full text]
  • L'age D'or of the Chamber Wind Ensemble
    L’Age d’or of the Chamber Wind Ensemble A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2013 by Danielle D. Gaudry BM, McGill University, 2000 BE, University of Toronto, 2001 MM, The Pennsylvania State University, 2009 Committee Chair: Terence Milligan, DMA ABSTRACT This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader’s life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d’or of wind chamber music, affecting the local music scene and continuing to hold influence on today’s performers of wind music. ""!! ! Copyright 2013, Danielle D. Gaudry """! ! ! ACKNOWLEDGMENTS I would like to extend my deepest gratitude to all those who have been a part of my journey, both in the completion of this document and over the course of this degree.
    [Show full text]
  • FLUTE/PICCOLO SOLO REPERTOIRE LIST Dr. Karen Mclaughlin Large Kansas State University
    FLUTE/PICCOLO SOLO REPERTOIRE LIST Dr. Karen McLaughlin Large Kansas State University Baroque (Barenreiter or Amadeus editions preferred): Johann Sebastian Bach Partita in A minor (unaccompanied) Johann Sebastian Bach Sonatas in B minor, E-flat Major, A Major, C Major, E minor, E Major Johann Sebastian Bach Suite in B minor Carl Philipp Emanuel Bach Concerto in D minor Carl Philipp Emanuel Bach Hamburg Sonata in G Carl Philipp Emanuel Bach Solo Sonata in A minor (unaccompanied) Carl Philipp Emanuel Bach Sonatas in A minor, E major, D major Michel Blavet Sonatas Francois Couperin Concert Royal No. 4 Georg Friedrich Handel Sonatas Jean-Marie Leclair Sonata in G Op. 9, No. 7 Jean-Marie Leclair Concerto in C Op. 7, No. 3 Pietro Antonio Locatelli Sonata in F Marin Marais Les Folies d’Espagne for solo flute (unaccompanied) Giovanni Battista Pergolesi Concerto in G Johann Joachim Quantz Concerto in G Georg Philipp Telemann 12 Fantasies (unaccompanied) Georg Philipp Telemann Sonata in F Major for Piccolo Antonio Vivaldi Concerto in G minor, “La Notte” Antonio Vivaldi Piccolo Concertos in C Major, RV 443, 444, and A minor 445 Classical: Ludwig van Beethoven Serenade in D Major Franz Joseph Haydn Concerto in D Major Johann Nepomuk Hummel Concerto in D Major Friedrich Kuhlau Grand Solo no. 1 op. 57 Friedrich Kuhlau Variations on “Last Rose of Summer” Wolfgang Amadeus Mozart Andante in C and Rondo in D Wolfgang Amadeus Mozart Concerto in G Wolfgang Amadeus Mozart Concerto in D Wolfgang Amadeus Mozart Concerto in C with Harp Carl Stamitz Concerto
    [Show full text]
  • Public Events March 2019
    Public Events March 2019 Subscribe to this publication by emailing Shayla Butler at [email protected] Table of Contents Overview Highlighted Events ................................................................................................. 3 Youth Summer Camps ........................................................................................... 5 Neighborhood and Community Relations 1800 Sherman, Suite 7-100 Northwestern Events Evanston, IL 60208 Arts www.northwestern.edu/communityrelations Music Performances ..................................................................................... 15 Theater .......................................................................................................... 21 Exhibits and Art Discussions ...................................................................... 22 Dave Davis Film Screenings ............................................................................................23 Executive Director [email protected] Living 847-491-8434 Leisure and Social ......................................................................................... 25 Norris Mini Courses Around Campus ARTica (art studio) To receive this publication electronically Norris Outdoors every month, please email Shayla Butler at Northwestern Music Academy [email protected] Religious Services ........................................................................................ 28 Sports, Health, and Wellness Northwestern Wildcat Athletics .................................................................
    [Show full text]
  • FRANCUSKI FLAUTISTI NADAHNUTI OPEROM Claude-Paul
    SVEUČILIŠTE U ZAGREBU MUZIČKA AKADEMIJA VII. ODSJEK LUCIJA STILINOVIĆ FRANCUSKI FLAUTISTI NADAHNUTI OPEROM Claude-Paul Taffanel: „Der Freischütz“ i fantazija „Mignon“ DIPLOMSKI RAD ZAGREB, 2018. SVEUČILIŠTE U ZAGREBU MUZIČKA AKADEMIJA VII. ODSJEK FRANCUSKI FLAUTISTI NADAHNUTI OPEROM Claude-Paul Taffanel: „Der Freischütz“ i fantazija „Mignon“ DIPLOMSKI RAD Mentorica: prof. art. Marina Novak Studentica: Lucija Stilinović Ak.god. 2017./2018. ZAGREB, 2018. DIPLOMSKI RAD ODOBRIO MENTOR prof. art. Marina Novak _________________________ Potpis U Zagrebu, ___________ Diplomski rad obranjen ________ ocjenom __________ POVJERENSTVO: 1. ____________________ 2. ____________________ 3. ____________________ Napomena: Papirnata kopija rada dostavljena je za pohranu knjižnici Muzičke akademije. Sadržaj Sažetak 1. Uvod ................................................................................................................................................ 1 2. Francuska škola flaute ..................................................................................................................... 2 2.1. Claude-Paul Taffanel i njegovi učenici .................................................................................... 2 3. Skladbe inspirirane operama ............................................................................................................. 7 3.1. Opera Mignon Ambroisea Thomasa ....................................................................................... 7 3.2. Claude-Paul Taffanel: Fantazija Mignon ................................................................................
    [Show full text]
  • Sarah Jackson
    January 2017 Sarah Jackson: Using the Breath Interview by Mindy Kaufman Sarah Jackson grew up in Canada and has been a professional orchestral musi- cian since the early 1990s, when she joined the flute section of the Vancouver Symphony. She has been piccoloist with the Los Angeles Philharmonic for the past 13 years. We had met once during the intermission of a New York Phil- harmonic concert in LA in which the Tchaikovsky Fourth Symphony (with me on piccolo) was on the second half. This interview was done by email during October and November. MINDY KAUFMAN: Let’s start out with your first job, as second flute and later as assistant principal flute and piccolo with the Vancouver Symphony. When and why did you switch over to the piccolo, and how was the transition? SARAH JACKSON: My first professional job was as second flute with the Van- couver Symphony. I was doing postgraduate work at McGill University when I took the audition. I thought, “On one hand a job, and, on the other hand, a degree to get a job.” I took the job. I love playing second flute! I think you have to be even more flexible and intuitive than for principal flute. On second, you can be playing many different roles, or wearing dif- ferent hats as I like to call it, all within one phrase. You have to play one way when you are in unison with the first, soloistic when your line becomes more prominent, and quick on the draw if the principal decides to move the line one way or another.
    [Show full text]
  • A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K. Phillips Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PERFORMANCE GUIDE TO THE MUSIC FOR FLUTE AND PIANO BY PHILIPPE GAUBERT By TAMMARA K. PHILLIPS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2006 The members of the Committee approve the treatise of Tammara K. Phillips defended on October 16, 2006. __________________________________________ Eric Ohlsson Professor Directing Treatise __________________________________________ Patrick Dunnigan Outside Committee Member __________________________________________ Eva Amsler Committee Member __________________________________________ Deborah Bish Committee Member __________________________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This treatise is dedicated to my father. iii ACKNOWLEDGEMENTS I gratefully acknowledge my treatise advisor, Dr. Eric Ohlsson, for his generous help in editing and completing this project. I would also like to thank the members of my committee: Professor Eva Amsler, Professor Deborah Bish, Dr. Patrick Dunnigan, and Dr. Frank Kowalsky. My thanks and appreciation to all my committee members for being so flexible and accommodating with their time, and allowing me to complete this project in such a short amount of time. For the indispensable advice and support of my flute professor, Eva Amsler, I am deeply appreciative. I am especially indebted to my family.
    [Show full text]
  • Applications of French Phonetics to Flute Playing: a Historical Perspective
    University of Kentucky UKnowledge Dean's Award for Excellence in Undergraduate University of Kentucky Libraries Scholarship 2018 Applications of French Phonetics to Flute Playing: A Historical Perspective Mary Margaret Zrull University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits oy u. Follow this and additional works at: https://uknowledge.uky.edu/ libraries_undergraduate_scholarship Part of the French Linguistics Commons, and the Music Performance Commons Repository Citation Zrull, Mary Margaret, "Applications of French Phonetics to Flute Playing: A Historical Perspective" (2018). Dean's Award for Excellence in Undergraduate Scholarship. 1. https://uknowledge.uky.edu/libraries_undergraduate_scholarship/1 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in Dean's Award for Excellence in Undergraduate Scholarship by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Abstract When people speak, they shape their mouths differently for different languages. It follows, then, that there are inherent differences in flutists’ playing based on their native language. In the case of teaching syllables—syllables that the flutist “says” while playing in order to achieve a certain articulation or embouchure formation, such as “tu”—this can become confusing. Therefore, it is important for flutists to study the pronunciation systems of foreign languages, in order to know how to correctly produce teaching syllables used by flutists and teachers of other cultures. Flute pedagogy has a strong French tradition, and many modern day, American, English-speaking flutists still use translations of historical French treatises, so studying French pronunciations is a good place to start.
    [Show full text]
  • The French Flute Tradition
    The French Flute Tradition by Liesl Stoltz Dissertation presented as partial fulfilment of the requirements for the degree Master of Music (Performance) Faculty of Humanities University of Cape Town Supervisor: Prof. James May February 2003 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town DECLARATION I, the undersigned, declare that this dissertation is my own, unaided work. It is being submitted in part fulfilment of the requirements for the degree of Master of Music (Performance). It has not been previously submitted in its entirety or in part for any degree or examination at any other university. ~. : ~~o!f\ ......... ......~~ '.. ~Q~3 ..... Liesl StoI'tZ ii ABSTRACT The French flute tradition is remarkable and is admired by flautists, teachers and students of the flute all over the world. The dissertation researched the development of this tradition from the pre-Baroque period through to the modern era and tried to determine the underlying factors that stimulated its development specifically in France. The first key was added to the flute in France and with this the Hotteteres created the blueprint for the modern flute of today. During the Classical period the conservative French retarded the development of the instrument and the repertoire for the flute by initially rejecting additional keys.
    [Show full text]
  • Exploring the French Flute School in North America
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Exploring the french flute school in North America: an examination of the pedagogical materials of Georges Barrère, Marcel Moyse, and René Le Roy Sarah Kate Gearheart Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Gearheart, Sarah Kate, "Exploring the french flute school in North America: an examination of the pedagogical materials of Georges Barrère, Marcel Moyse, and René Le Roy" (2011). LSU Doctoral Dissertations. 1082. https://digitalcommons.lsu.edu/gradschool_dissertations/1082 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. EXPLORING THE FRENCH FLUTE SCHOOL IN NORTH AMERICA: AN EXAMINATION OF THE PEDAGOGICAL MATERIALS OF GEORGES BARÈRRE, MARCEL MOYSE, AND RENÉ LE ROY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music by Sarah Gearheart B.M., Wichita State University, 2003 M.M., Wichita State University, 2005 May 2011 ACKNOWLEDGEMENTS I want to thank the members of my committee, Katherine Kemler, Alison McFarland, Griffin Campbell and Gabriel Beavers for their input and suggestions throughout the process of editing and completing this document. I am especially grateful for the guidance from my flute professor, Dr.
    [Show full text]