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There once was a king who had a very beautiful daughter. The king talked to his best advisers. When she was a little girl, she was happy. She loved music, “How can I help the princess be happy again?” he asked. and she sang more happily than any songbird in the forest. “She needs a hobby,” said one adviser. “She should But now the princess was older, and she was unhappy. collect butterflies!” She never sang. She never even smiled. No one knew why. “Has she ever seen a clown?” asked another. “A clown “I hate to see my daughter so sad,” said the king. will make her laugh!” “I so want to see her happy again!” The king tried these ideas, but they didn’t work. Finally the king remembered the princess’s love of music. “Music made my daughter happy once,” said the king. “Maybe it can make her happy again!” 2 3 Facts About Flutes The flute is one of the world’s oldest instruments. In 2008, a flute made from animal bone was found in a European cave. The flute is thought to be about 40,000 years old! Most flutes look like a thin, hollow tube. To play a flute, a person blows air into a hole in the instrument. Flutes usually have finger holes. Different notes are created by putting fingers The Shakuhachi over different holes. Flutes can be made of The shakuhachi is a Japanese many different materials such as wood, flute that is usually made of thick metal, bamboo, or bone. bamboo. This flute came from China to Japan in ancient times. Because it People around the world play many has a relaxing sound, it was used by different kinds of flutes. These are Zen Buddhist monks for meditation. just a few. Pan Flute The pan flute is used in many cultures, but it is particularly The Nose Flute popular in South America. This flute The nose flute is played in has a row of five or more tubes many countries and areas connected by strips of bamboo bordering the Pacific Ocean. or colorful cloth. The tubes are People play the Nose Flute different lengths. Each tube by closing off one of their creates a different sound when nostrils and blowing air with a person blows into it. the other nostril into a hole in the flute. 12 13.

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Ensemble Are Exceptions, but I Feei"'T'hat Sonority (By Which
RR-14 INFLUENCE 25 December 1968 28 Uguisud ani-machi Shibuya-ku, Tokyo Mr. Richard NolZe Institute of Current World Affairs 535 Fifth Avenue New York, N.Y. 10017 Dear Dick With over two years of residency in Japan, we are thought of as "knowledgeable" on a broad range of Japanese phenomena. This only by virtue of the fact that we have slightly more experience than those who have not visited this contradictory land of urgency and restraint. The most frequent qUestion addressed to me, as a composer, during our recent travel in the United States was "how has your work been influenced by Japanese music?" It was an irritating and difficult question for several reasons, foremost of which was my aversion for the practice of deliberately "adopting" influences (as opposed to the conviction that diverse influences naturally assimilated are an honorable resource that ought to be more regularly drawn upon). My response to the question usually be,an something like, "what do you mean, 'influence'?" as though the questioner suspected something intentional on my part. There are at least three or four composers whose economic positions have been enhanced by exotic materials that they adopted in calculated fashion during an artificially brief acquaintance. My instinct is to avoid the implication, however remote, and, in any case, I am inhibited from such practices by a musical style that does not depend on melodies or rhythms of any sort. There are, of course, other less obvious materials, "influences," that one might commandeer', exotic instruments, unfamiliar instrumental or vocal styles| esthetic attitudes; forms; and so on.
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J a N U a R Y 2 0
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Jianpu Notacija
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N O V E M B E R 2 0
Published by the American Recorder Society, Vol. XLIV, No. 5 november 2003 A Flanders Recorder Quartet Guide for Recorder Players and Teachers BART SPANHOVE With a historical Chapter by DAVID LASOCKI The purpose of this book is to help recorder players become better ensemble members. Bart Spanhove has written the book in response to numerous requests from both amateurs and professionals to set down some practical suggestions based on his own experience and thereby fill a long-felt gap in the literature Alamire Music Publishers about the recorder. Toekomstlaan 5B, BE-3910 Neerpelt Price: 22,06 Euro T. +32 11 610 510 Orders can be placed at F. +32 11 610 511 www.alamire.com [email protected] EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLIV, Number 5 November 2003 Death and music are no strangers. FEATURES Death is often found in operatic context— A Recorder Icon Interviewed . 8 the tragic ending in Giacomo Puccini’s A Talk with Anthony Rowland-Jones, Tosca when the title figure leaps to her by Sue Groskreutz death, and the stirring music composed by The Recorder in the Nineteenth Century. 16 Richard Wagner for Siegfried’s funeral near by Douglas MacMillan the end of the four-part epic Ring cycle, af- 4 Arranging an Orchestral Work for Recorder Quintet . 22 ter which Brunhilde flings herself on the The eleventh in a series of articles by composers and arrangers hero’s funeral pyre and sings for another discussing how they write and arrange music for recorder, 10 minutes or so. by Carolyn Peskin Death’s knock shows up in Tchaikovsky’s symphonies and, under- scoring the underlying sorrow of war, in DEPARTMENTS the theme song from M*A*S*H—titled Advertiser Index .
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