Academic literature on the topic 'Contemporary flute repertoire'

Extended flute techniques, which are frequently found in contemporary flute literature, carry the flute to a different dimension, pushing the boundaries of composers and performers. Although the number of pieces containing these techniques in the world has increased rapidly, along with Turkish flute repertoire, written Turkish sources about extended flute techniques are limited to theses and articles. In this research, the use of extended flute techniques in flute education programmes in Turkey was investigated. A survey method was used in the research, and 20 teaching staff members participated in the survey by answering the questionnaire. As a result of the research, it was determined that 18 teaching staff members included extended flute techniques in their flute education programmes, and 2 teaching staff members did not use these techniques in flute education, particularly because “the techniques and pieces do not accord with the levels of the students” and because of “the difficulty of the pieces”. In the conclusion, the difficulties faced by the teaching staff during training in extended flute techniques are summarized, and the suggestions of the teaching staff are mentioned.

Swedish baritone Hakan Hagegard has had an extraordinary international career performing in opera, oratorio, and recitals. While his signature role may have been that of Papageno, in Ingmar Bergman’s famous film of The Magic Flute, Mr. Hagegard is equally at home and adept with contemporary repertoire. He is also widely known and respected for his interest in developing ways to help other artists survive the rigors of performance. An integral part of this was the building of an artists retreat and meeting place, HageGarden, in rural Sweden. Editor Alice Brandfonbrener, who is a friend of Hakan Hagegard, recently conducted this interview with the singer long distance with the help of e-mail.

Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.

The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.

In 1913, French composer Claude Debussy penned a work for solo flute that to this day has remained popular in the flute repertoire. Syrinx, written to accompany a scene in the play Psyche, tells the story of Pan and Syrinx from Greek mythology. This poster project seeks to explain the impact that Debussy’s Syrinx has made on 20th and 21st Century flute composition. This impact included descriptive music, use of whole tone scales, freedom from strict meter, and a poetic performance style for the unaccompanied flute genre. Some elements of Debussy’s style come from his first encounter with Asian music at the World’s Fair. In the Baroque period, it was not unusual for composers to write for unaccompanied instruments. Scholars estimate that J. S. Bach’s Partita in A Minor was written sometime in the 1720s, while Telemann composed Twelve Fantasias for Solo Flute in 1732-33. After the Baroque period, the solo flute genre was absent from the repertoire until Debussy’s Syrinx. Nearly 200 years later, he gave the solo flute a new sound, which, in turn, inspired more composers to write for unaccompanied flute. The 20th Century surge of works written for solo flute is no doubt partially due to the further development of the instrument into its modern day form. However, the increase originates with Debussy’s Syrinx. Upon examination of the solo flute repertoire, it appears that Debussy is the composer most responsible for encouraging the composition of contemporary works for the flute. The research includes primary sources such as the score, the script to the play Psyche, and the abundance of subsequent solo flute compositions. Different online music resources were consulted for background information and musical interpretation.

By the turn of the nineteenth century composers such as Daniel Steibelt and Muzio Clementi were writing keyboard pieces with tambourine (and, occasionally, triangle) parts that were clearly intended for private salon performances by girls and young women. These works were introduced to public and private European salons during the early nineteenth century. Steibelt performed such pieces, typically waltzes, bacchanals, rondos and divertissements whilst on tour with his English wife Catherine, daughter of the London-based music publisher and patent tambourine manufacturer Joseph Dale. She became a renowned tambourine virtuoso, even attracting the attention of the Bohemian musician and writer Václav Jan Tomášek, who described the great sensation caused by Catherine's performances. I analyse different types of works that were written for the tambourine around the year 1800. Examples of short waltzes (which were usually published in sets of 6 or 12) are plentiful – they were by far the most common pieces written for piano and tambourine – and in them the historical link between the tambourine and dance is most obvious. I argue that these waltzes may have served as a bridging point between dance-like, energetic, social activities and passive, recreational drawing-room music. Further support for this idea can be found in a Grand Sonata for pianoforte, tambourine, flute, violin and basso by Joseph Dale. The tambourine part contains numerous choreographic instructions as well as a wide variety of playing techniques such as thumb rolls, bass notes and harmonics, the likes of which did not become common practice in the orchestral or chamber repertory until the twentieth century. Dale's intention was clearly to provide an opportunity for women musicians to express themselves in ways that were contrary to contemporary expectations of female social etiquette.

Este trabalho apresenta o estudo da música contemporânea escrita para a Flauta Transversal na Espanha. Centra-se nos eventos musicais, figuras mais representativas e focos de difusão musical de maior importância no século XIX na Espanha. Igualmente foram selecionados os estilos musicais mais influentes da Europa do século XX, que marcaram o ponto de partida de toda a música contemporânea escrita na península neste período. Foi realizado um estudo das principais obras do repertório espanhol contemporâneo escrito para Flauta Transversal. Apresentámos também uma análise estilística e interpretativa de duas obras selecionadas, em quais podemos detectar claramente a evolução tanto na linguagem musical quanto nas possibilidades sonoras do instrumento. Este trabalho baseia-se na necessidade de abrir uma porta para o conhecimento sobre música em Espanha escrita para Flauta Transversal nas últimas décadas do século XIX, bem como no início do século XX; RESUMEN: Este trabajo presenta un estudio de la música contemporánea escrita para Flauta Travesera en España, para ello se me ha echo imprescindible realizar un pequeño recorrido en torno a los acontecimientos históricos, musicales, figuras más representativas y focos de difusión musical de mayor importancia en el siglo XIX en España. Con Posterioridad realizo un pequeño estudio de las corrientes musicales más influyentes en Europa en el siglo XX, que marcaron el punto de inicio de toda la música contemporánea escrita en la península en este periodo. Ya para finalizar el proyecto, se lleva a cabo un estudio de las principales obras del repertorio cotemporáneo español escritas para Flauta Travesera y se realizará un pequeño análisis estlístico e interpretativo donde se podrá ver la evolución tanto en el lenguaje como en las posibilidades sonoras propias del instrumento. Todo este trabajo se fundamenta en la necesidad de abrir una puerta al conocimiento sobre la música en España escrita para Flauta Travesera en torno a las últimas décadas del siglo XIX así como a principios del siglo XX; ABSTRACT: This work presents a study of contemporary music written for Flute Travesera in Spain, for this I have made it essential to perform a short tour around the historical events, musicals, most representative figures and foci of musical diffusion of greater importance in the century XIX in Spain. Later I make a small study of the most influential musical currents in Europe in the twentieth century, which marked the starting point of all contemporary music written on the peninsula in this period. To finish the project, a study of the main works of the Spanish cotemporane repertoire written for Flute Travesera is carried out and a small statistical and interpretative analysis will be carried out where the evolution can be seen both in the language and in the sound possibilities proper to the instrument. All this work is based on the need to open a door to knowledge about music in Spain written for Flute Travesera around the last decades of the nineteenth century as well as at the beginning of the twentieth century.

This submission investigates the influence of selected Japanese traditional musical concepts on the contemporary flute repertoire through performance. The influence of selected Japanese traditional musical concepts and techniques from traditional instruments particularly the shakuhachi (vertical bamboo flute) are explored. Repertoire selected from works by Japanese composers that have a theme of nature especially seasons and birds as well as two works by European composers are presented in order to compare different approaches to the same theme. The exegesis provides a brief historical context, introduces key Japanese concepts such as ma (silence), and ichion jōbutsu (tonality) as well as selected shakuhachi techniques before discussing their application in performance. Examples taken from the author’s recitals are used to illustrate the discussion and the two CDs of the complete recitals are integral to the submission. CD 1: Nature and Seasons Sakura Variations for Flute and Piano (1962) Japanese Folk Song (Masao Yoshida, arr.). Autumn Fantasy for Flute and Piano (1987/88) Minoru Miki. Air for Flute Solo (1995) Tōru Takemitsu. Sonata for Flute and Piano -Hana no Uta (The Song of Flowers)- (1967) Hikaru Hayashi. Itinerant -In memory of Isamu Noguchi- for Flute (1989) Tōru Takemitsu. Sonata Festosa for Flute and Piano, Op. 17 (1937) Bunya Koh. CD 2: Nature and Birds Le Merle Noir for Flute and Piano (1951) Olivier Messiaen. Air for Flute Solo (1995) Tōru Takemitsu. First Sonata for Flute and Piano (1945) Bohslav Martinu. Mei for Solo Flute (1962) Kazuo Fukushima. Digital Bird Suite for Flute and Piano, Op. 15 (1982) Takashi Yoshimatsu. Akatombo (Red Dragonflies) for Flute and Piano (1973) Kōsaku Yamada (Teruyuki Noda, arr.).
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2010

The purpose of this study is to provide an overview of contemporary flute repertoire by Canadian composers. Largely unknown outside of Canada, the works that are featured in this document represent a sampling of the diversity of styles and idioms in Canadian music. To provide a context for understanding current trends and directions in Canadian music, a brief history of music in Canada is summarized. This history discusses the strong link between the Canadian national character and the music that is the subsequent product. Seven works, representing a variety of styles and genres, are analyzed in detail to provide the potential performer with sufficient information and understanding of their idiom, construction, compositional style, historical context, and contemporary techniques. Brief biographies of each selected composer are also included. Both traditional and non-traditional methods of analysis are used as a means to provide an accurate description of each work. The Catalogue of Contemporary Canadian Flute Repertoire: A Performer's Guide, included in this document (Volume II) provides as comprehensive a listing as possible. It is this author's hope that by providing the resources to explore this large body of work, this deserving artistic output will receive greater recognition and increased performances both in the professional and academic worlds.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism.
Graduate

This chapter focuses on how contemporary music practice interacts with early modern1 aesthetics. Two projects, in which Georg Philip Telemann’s solo fantasias are interspersed with contemporary techniques and repertoire, serve as case studies. Firstly, the flutist Felix Renggli commissioned new pieces from 11 contemporary Swiss composers, to be inserted in between Telemann’s 12 Fantasias for Solo Flute. Secondly, violinist Aisha Orazbayeva performed a set of Telemann’s Solo Fantasias for Violin using extended techniques pioneered by Salvatore Sciarrino in his 6 caprices. In this text I use these two different approaches as case studies for how early modern music, exemplified by Telemann, can be communicated to a modern audience without relying upon the concept of historically informed performance, but instead communicates through the operation of semiotics in performance.