A Study of Language and Its Uses in Flute Performance and Pedagogy
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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. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
THE NATIONAL FLUTE ASSOCIATION RESEARCH TABLE HOLDINGS August 2010
THE NATIONAL FLUTE ASSOCIATION RESEARCH TABLE HOLDINGS August 2010 Adams, Carl. “The Flute Works of Joachim Andersen, A Pedagogical Study.” Thesis, Catholic University, 1982. Aitchison, Anne. “The Flute Family in Contemporary Practice: An Essay-Demonstration.” Master’s thesis, University of Michigan, 1965. Arnone, Francesca Marie. “A Performance Edition of Charles Koechlin’s Les Chants de Nectaire, opus 198.” DMA essay, University of Miami, 2000. Artaud, Pierre-Yves. La Flûte. J. C. Lattès, 1986. Averitt, Frances Lapp. “An Intonation Method for Flutists (Non-Exclusive of Other Instrumentalists and Singers) Based on the Use of Difference Tones as a Practical Guide to the Achievement of Perfectly Tuned Intervals.” DM thesis, Florida State University, 1973. Bailey, John Robert. “Maximilian Schwedler’s ‘Flute and Flute-Playing’: Translation and Study of Late Nineteenth-Century German Performance Practice.” DM thesis, Northwestern University, 1987. Ballatori, Cristina. “A Performer’s Guide: Suite Paysanne Hongroise for Flute and Piano by Béla Bartók/Arranged Paul Arma.” DMA major document, University of Colorado, 2006. Beard, Christine Elizabeth. “Excerpts for Flute from the Wind Band Literature: An Annotated Guide for Practice, Performance, and Audition Preparation, Presented as a Progressive Supplementary Teaching Method.” DMA treatise, The University of Texas at Austin, 2003. Becker, Janet Sue. “The Eighteenth Century Flute Concerto: A Study and Edition of Two Manuscripts from the Fuerst Thurn und Taxis HofBibliothek Regensburg with reference to Contemporary Treatises.” DM thesis, Northwestern University, 1993. Bent, Jane. “The Arranging of Flute Concerto Accompaniments for Band.” DMA thesis, University of Wisconsin-Madison, 1988. Billington, Robert David. “A Description and Application of Robert Aitken’s Concept of the Physical Flute.” DMA essay, University of Miami, Florida, 2000. -
Volumes I - XV (1975-1990)
THE NATIONAL FLUTE ASSOCIATION, INC. INDEX to The Flutist Quarterly Previously titled The Newsletter of the National Flute Association Volumes I - XV (1975-1990) Revised by Mary Jean Simpson Third Edition, 1991 ACCOMPANIMENT, tips for, XIV/2, 53-57. BARONE, CLEMENTE, X/1, 13-14. ACOUSTICS, audience reaction, X/3, 46-48; effect on BAROQUE FLUTE MASTERCLASS COMPETITION, XIV/4,78. instrument, X/4, 41-43; homogenizing, 11/4, 9; BAROQUE PERIOD, finding Baroque music, XIV/3, 12-14; questions and answers, XIV/2, 72; XIV/5 [XV/1], 63; one-keyed flute workshop, IV/2, 14; ornamentation, XV/3, 48-49; spectral analysis, VI/3, 8-9. VIII/3, 7ff; XII/1, 22-26; playing Baroque music on Adams, Carl, Joachim Andersen: His Compositions for the modern flute, XIH/1, 44-53; tempo and affects of French Flute, XII/4, 71ff. dances, XN/4, 7-11; transference from Boehm to Adams, Patti, New Orleans Tours, XIV/3, 35-36; Notes on a Baroque, VI/3, 3ff, 6-7; traverso on records, II/4, 10ff. Masterclass: A Small Collection of Gilbert-isms From See also FLUTE, HISTORY AND DEVELOPMENT. the the Denver Convention, XI/2, 44-45. Barrere, Georges, Autobiography , IX/2, 3ff; Barrere on ADAMS, PATTI, XII/2, 13. Barrere, IX/2, lff; My American Musicians, IX/2, 7; ADORJAN, ANDRAS, XV/2, 68-69. Wood-Wind Instruments Attracting Women, XV/2,11. Ahmad, Patricia, Flute Professors of the Paris Conservatoire, BARRERE, GEORGES, VI/1, 6; IX/2, 1ff, 15; X/3, 25; XII/1, 41-46. from Devienne to Taffanel. -
Flute Vibrato During the 78-Rpm Era: an Exploration of Representative Recordings of Claude Debussy's Syrinx, 1928-1953
Graduate Theses, Dissertations, and Problem Reports 2017 Flute Vibrato during the 78-rpm Era: An Exploration of Representative Recordings of Claude Debussy's Syrinx, 1928-1953. Angela Reynolds Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Reynolds, Angela, "Flute Vibrato during the 78-rpm Era: An Exploration of Representative Recordings of Claude Debussy's Syrinx, 1928-1953." (2017). Graduate Theses, Dissertations, and Problem Reports. 8208. https://researchrepository.wvu.edu/etd/8208 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Flute Vibrato during the 78-rpm Era: An Exploration of Representative Recordings of Claude Debussy’s Syrinx, 1928-1953 Angela Reynolds Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements -
So You Want to Play the Flute
Chapter 1 So You Want to Play the Flute In This Chapter ▶ Understanding the nature of this magical instrument ▶ Appreciating the flute’s great legacy ▶ Getting started with flute playing came to the flute in a pretty roundabout way — when I was 10 years old, Ithe obligatory question came as to which instrument I’d like to play. I had played the recorder when I was six or so, and I had really enjoyed that, so I figured that woodwinds, such as the flute or the clarinet, would be my instru- ments of choice. They looked a little like the recorder, anyway, so I suppose that I found some comfort in that similarity. Well, my parents got a hold of two used instruments to try out: a flute and a clarinet. We took the instru- ments to a woodwind repair technician, who informed us that the clarinet was in a pretty bad state of disrepair, but the flute was in perfect condition. Hence, my musical future was decided for me. I didn’t know how a flute worked — I thought you were supposed to blow into the end of it, like a recorder. I wondered whether the flute wasn’t broken, after all — until a neighbor kid who played the flute showed me that you were supposed to blow across the hole, not directly into it. Talk about an “aha” moment. From that point on, I gradually grew more and more obsessed with playing the flute. After a while, my parents couldn’t get me to stop practicing. Before I knew it, I was majoring in music in college. -
Bpcc History 2019
BRITISH POLICE CRICKET CLUB FOUNDED 1973 COMPLETE REPRESENTATIVE MATCH RECORDS PLAYED 220, WON 123, TIED 1, ABND/DRAWN 26, LOST 70 (Win Ratio 55.90%) Opponents P W T A/D L Win % v Army 33 26 0 1 6 78.78% v Royal Navy 40 29 0 3 8 72.5% v Royal Air Force 37 24 0 2 11 64.86% v Conferences 41 12 0 8 21 29.26% v Counties 40 14 1 7 18 35% v Others 29 18 0 5 6 62.06% Result sequences: v Army WAWWWLWLWWWWWWWWWWWWWWWWWLWL WWWLL v Royal Navy AWLLWWWLWLWWDLDWWWWWWWLWWWWWW WWLWWWWLWWW v Royal Air Force WWLWLLLWWWWWLLWAWWWWWWWLWWWAW WWLWLLLW v Conferences LLDDDWDLWLLDDLLAWLWLWWLLWWLLLWALLL WWWLLLLL v Counties WWAWALLDLWDDLLLLWLLLWWAWLWWWWWLLAL WTLLLL v Others WDWALWLWDWWWWWLWWLWWWWAWWLAWL CAPTAINS LOG ODR’s (ONE DAY REPRESENTATIVE MATCHES ONLY) There were no precise captain details 1973-1985. M W T A/D L Win% Peter Anderson - Devon & Cornwall (6) 7 4 0 2 1 57.14% Alan Hampshire - South Yorkshire (41) 30 15 0 5 10 50% Mark Stear - Metropolitan (42) 4 1 0 2 1 25% David Fraser-Darling - Nottinghamshire (62) 29 22 0 0 7 75.86% Graham Shaw - Cleveland (65) 53 39 0 3 11 73.58% Tim Heap - Staffordshire (101) 1 1 0 0 0 100% Mark Davies - Dyfed Powys (107) 14 4 0 2 8 28.57% Steve Greig - Metropolitan (154) 3 3 0 0 0 100% Gareth Morris – Staffordshire (153) 6 3 1 0 2 50% Russell Bryan – Metropolitan (155) 10 5 0 0 5 50% Mick Martin – Gwent (166) 12 4 0 1 7 33.32% Ryan Watkins – Gwent (164) 1 0 0 0 1 - BRITISH POLICE CC COMPLETE PLAYING RECORD 1 MCC WON 1973 54 R BARB POL DRAWN 108 ARMY WON 55 RAF WON 109 CCC Lost 2 NAVY ABND 56 SURREY DRAWN 110 NAVY WON 3 SUSSEX WON 1974 57 NAVY WON 111 KENT Lost 58 ARMY Lost 112 RAF WON 1996 4 SCOT UNION DRAWN 59 CCC Lost 1986 5 SCOT POLICE WON 113 ARMY WON 6 RAF WON 60 RAF WON 114 KENT WON 1997 7 CCC Lost 61 ARMY WON 8 NAVY WON 1975 62 NAVY DRAWN 1987 115 KENT WON 116 ARMY WON 9 RAF WON 63 NAVY Lost 117 NAVY WON 10 FIRE SERV ABND 64 SURREY DRAWN 118 CCC WON 11 NAVY Lost 65 RAF WON 119 RAF WON 1998 12 KENT WON 1976 66 ARMY Lost 67 CCC DRAWN 1988 120 KENT. -
Concert: Ithaca Flute Institute - Claudia Anderson, Flute & Piccolo Claudia Anderson
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 6-29-2004 Concert: Ithaca Flute Institute - Claudia Anderson, flute & piccolo Claudia Anderson Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Anderson, Claudia, "Concert: Ithaca Flute Institute - Claudia Anderson, flute & piccolo" (2004). All Concert & Recital Programs. 3490. https://digitalcommons.ithaca.edu/music_programs/3490 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA FLUTE INSTITUTE PRESENTS Claudia Anderson, flute and piccolo Diane Birr, piano Assisted by: Leone Buyse, flute Wendy Mehne, flute Hockett Family Recital Hall Tuesday, June 29, 2004 7:00 P.M. ITHACA PROGRAM Gigue (1720s/1928) Jean-Marie Leclair/arr. Georges Barrere (1697-1764) (1876-1944) Eros (1996), Roberto Sierra (b. 1953) Be Still My Soul (2003) Rhonda Larson (b. 1965) Souvenirs for Piccolo and Piano (2002) Robert Beaser (b. 1954) Happy Face Lily Monroe Y2K Spain Cindy Redu.x Ground 0 INTERMISSION Chorale from Etudes for Solo Flute (1986) John Heiss (b. 1938) Prelude and Air (1973) Edison Denisov (1929-1996) Quartet in D Minor Georg Philip Telemann from Tafelmusik II (1733) (1681-1767) Andante Vivace Largo Allegro Leone Buyse and Wendy Mehne, flutes .. BIOS Claudia Anderson's brilliance and originality as a solo performer have graced audiences in the United States, Europe, and South America since the early 1970's. After graduating with honors from the University of Michigan, and partidpating in the world remiere of Leonard Bernstein's Mass, Ms. -
ABSTRACT This Dissertation Explores Selections from the Flute Repertoire
ABSTRACT Title of Dissertation: THE MUSIC OF FLUTIST/COMPOSERS: PERFORMANCES OF SELECTED WORKS FOR FLUTE COMPOSED BETWEEN 1852 AND 2005 Sarah Eckman McIver, Doctor of Musical Arts, 2010 Directed by: Dr. William L. Montgomery School of Music This dissertation explores selections from the flute repertoire composed by flutists from 1852 through 2005. The selected works represent the wide variety of flute music written by composers who played the flute in some capacity; most of the flutist/composers were also major performers, some were accomplished teachers, and some were widely-known composers who play the flute well enough to understand its capabilities but would not qualify as a performer/composer. After researching a large selection of works written by flutist/composers and using my subjective judgment when appropriate, twenty-three works were chosen for the dissertation on the basis of their popularity, familiarity with the composer, importance in the development of flute literature, relevance to the history of the flute, and the composer’s overall importance to music. Over twenty years of personal experience with the flute literature and my familiarity with certain composers served as a starting point for the research. Previous areas of research in this field encompass either broad surveys of the entire flute literature, or various dissertations and biographies written about individual flutist/composers. A variety of other sources consulted include composer websites, commercial recordings, e- mail discussion groups, and recital programs. The selected works performed and discussed are the following: Robert Aitken, Icicle; Joachim Andersen, Deuxième Morceau de Concert, Op. 61; Georges Barrère, Nocturne; Theobald Boehm, Fantaisie sur des Airs Ecossais, Op. -
The New York Flute Club
“When I was growing up in New York City, the New York Flute Club was my first exposure to the wider world of the flute and to the special camaraderie that flutists share.” —Robert Dick The New York Flute Club A Centennial History Nancy Toff Presidents The New York Flute Club: A Centennial History The beginnings were decidedly modest, but also a bit of a provocation in a New York City apartment building: in December 1920, Georges Barrère, principal flutist of the New York Symphony Orchestra and flute teacher at the Institute of Musical Art, invited 16 flutists to his apartment to play the Kuhlau Grand Quartet, four to a part. We don’t know what the neighbors thought, but the flutists were sufficiently inspired that they started a club. The New York Flute Club was officially incorporated on December 31, 1920; the first regular meeting took place on Georges Barrère January 9, 1921. The inaugural board (1920–44) consisted of Barrère, president; Mrs. Eliot John Wummer Sue Ann Kahn Henderson (professional name: May Lyle (1944–47) (1989–92) Smith), first VP; William Kincaid, then a Milton Wittgenstein Nancy Toff member of the New York Chamber Music (1947–52) (1992–95, 2008–11, 2018–present) Society, second VP; Milton Wittgenstein, Mildred Hunt Wummer Rie Schmidt on staff at WQXR, recording secretary; (1952–55, 1963–64) (1995–98) and flutist-composer Lamar Stringfield, Frederick Wilkins Patricia Spencer treasurer. (1955–57) (1998–2001) The first concert took place on February 6 Harry H. Moskovitz Jan Vinci in the Rose Room of the ornate Ansonia (1957–60, 1967–70) (2001–02) Hotel, at Broadway and 73rd Street, Paige Brook Jayn Rosenfeld sometime home to Caruso, Toscanini, (1960–63, 1970–73, 1982–83) (2002–05) Mahler, and Babe Ruth. -
Dennis Brain Discography
DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well.