The Glissando Headjoint Author Shephard, Eliza Published 2020-04-02 Thesis Type Thesis (Masters) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/513 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/393197 Griffith Research Online https://research-repository.griffith.edu.au The Glissando Headjoint Eliza Giselle Shephard Bachelor of Music (Honours), Licentiate of Music, Associate of Music s5084256 Queensland Conservatorium Griffith University Submitted in fulfilment of the requirements of the degree of Master of Music (Research) July 2019 © Eliza Shephard s5084256 Page 1 Statement of Originality I acknowledge that the research presented in this project is authentic and completed by myself, Eliza Giselle Shephard. This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Eliza Shephard, July 22, 2019. Statement of Assistance I would like to acknowledge Capstone Editing for their assistance in editing and proofing this document prior to submission. Ethics Approval This research has received Human Ethics Research Approval through the Ethics Committee of Griffith University and the study was conducted in accordance with the approved protocol – approval number: GU Ref No: 2018/361 It is acknowledged that the Glissando Headjoint® is a registered trademark of Robert Dick. For the purposes of concise language, the term GHJ will be understood to replicate the full term of Glissando Headjoint. © Eliza Shephard s5084256 Page ii Acknowledgements I would like to thank firstly my incredible family who have supported me through all my fluting years. I would not be here without your love and belief in me. My parents Monique and John Shephard need their own special mention for going above and beyond the call of duty in their support of this particular project. To my loving partner, Will – thank you for your patience and ability to cook while I continued my writing. A huge thank you to my unflappable and superbly awesome supervisor, Dr. Diana Tolmie. Thank you for listening to my vents and for constantly radiating positivity and good vibes. You are my favourite nerd, please never change. To Professor Stephen Emmerson, thank you for being a constant source of support and for being a great person to bounce ideas off, and for always being positive! My wonderful flute teacher, Virginia Taylor – thank you for believing in me all those years ago, I would not be half the player or person I am without your support and guidance. A sincere thank you to the Australian National Academy of Music in Melbourne who have provided me with financial assistance throughout my studies as well as many opportunities to perform these pieces, working with some truly amazing associate artists. Thank you to Mr Robert Dick for his generosity with his time and knowledge, for creating the Glissando Headjoint, and for being the flute pioneer that we need. Finally, to the composers in this project – Lucy Hollier, Cory Ryan, John Shephard, and Kezia Yap – who gave up their time and creative services: you are all amazing. Thank you for exploring the realm of the Glissando Headjoint with me and contributing to its repertoire so positively. © Eliza Shephard s5084256 Page iii Contents Statement of Originality .................................................................................................................... ii Statement of Assistance ..................................................................................................................... ii Ethics Approval .................................................................................................................................. ii Acknowledgements............................................................................................................................ iii Contents ............................................................................................................................................. iv List of Figures .................................................................................................................................... vi List of Appendices ............................................................................................................................ vii Abstract ............................................................................................................................................ viii Chapter 1: Introduction and Overview ........................................................................................... 1 1.1 Thesis Overview ......................................................................................................................... 3 1.2 A History of Flute Development ................................................................................................ 4 1.3 Extended Techniques ................................................................................................................. 6 1.4 Development of the Glissando Headjoint ................................................................................ 10 1.4.1 Eva Kingma’s design ......................................................................................................... 11 1.4.2 Kaspar Baechi’s design ..................................................................................................... 12 1.4.3 Bickford Brannen’s design ................................................................................................ 15 1.5 Glissando Headjoint Attributes and Benefits ........................................................................... 16 1.6 Chapter Summary ..................................................................................................................... 17 Chapter 2: Literature Review ......................................................................................................... 19 2.1 The Glissando Headjoint—Scholarly Literature ...................................................................... 19 2.2 The Glissando Headjoint—Informal Literature ....................................................................... 20 2.3 Adoption of the Glissando Headjoint ....................................................................................... 21 2.4 Notation for the Glissando Headjoint ....................................................................................... 22 2.5 Glissando Headjoint and Improvisation ................................................................................... 26 2.6 Composer–Performer Collaboration with the Glissando Headjoint......................................... 29 2.7 Arranging Works for the Glissando Headjoint......................................................................... 30 2.8 Chapter Summary ..................................................................................................................... 31 Chapter 3: Methodology .................................................................................................................. 32 3.1 Research Tools ......................................................................................................................... 32 3.1.1 Practice-based research ...................................................................................................... 33 3.1.2 Online interview: Robert Dick........................................................................................... 34 3.1.3 Composer–performer collaboration ................................................................................... 37 3.1.3.1 Lucy Hollier ................................................................................................................. 39 3.1.3.2 Cory Ryan .................................................................................................................... 40 3.1.3.3 John Shephard .............................................................................................................. 40 3.1.3.4 Kezia Yap .................................................................................................................... 41 3.2 Chapter Summary ..................................................................................................................... 41 Chapter 4: Findings and Discussion ............................................................................................... 42 4.1 Robert Dick Skype Interview ................................................................................................... 42 4.1.1 Robert Dick: Mechanical improvements ........................................................................... 42 4.1.2 Robert Dick: Compositions for the Glissando Headjoint .................................................. 44 4.1.3 Robert Dick: Notation for the Glissando Headjoint .......................................................... 45 4.1.4 Robert Dick: Musical contexts for the Glissando Headjoint ............................................. 45 4.2 Practitioner Action Research—Glissando Headjoint Arrangements ....................................... 47 © Eliza Shephard s5084256 Page iv 4.3 Composer–Performer Collaboration ........................................................................................ 50 4.3.1 Lucy Hollier—Mostly Milk...............................................................................................