Dissertations / Theses: 'Flute'

1

LaCroix, M. Lynne. "Flute recital." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28872.

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Petterson, Jill. "Extended flute techniques in three culturally different solo flute pieces." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12652.

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Includes bibliographical references.
Extended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.

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Gomes, Dos Santos Junior Osvaldo. "The Flute Inside-Out: Tracking Internal Movements in Flute Playing." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17992.

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Analyses in the past have revealed that flute sound production is a complex procedure involving internal movements of the body. The larynx and pharynx in particular play a crucial role. Some authors, advocate for the abdominal muscles, while others, draw attention to the lips and the oral cavity. However, despite the various studies, the physiology of flute playing is limited by lack of empirically-derived information about what happens when a player carries out musical tasks. The present study is an empirical investigation of the role of the larynx and pharynx in flute playing from the perspective of a flute specialist. Specifically, the study aims to determine vocal fold involvement in vibrato, epiglottis movements, arytenoids and epiglottis involvement in articulation, and glottal aperture in tone and dynamics production (soft to loud, loud to soft). A detailed analysis of the relationship between standard flute techniques and the larynx and pharynx mechanisms is presented, making a significant contribution to the flute pedagogical literature. Two male and three female experienced players (referred to in the study as “the participants”) participated in a video-nasendoscopy procedure. The behaviour of the participants’ larynxes and pharynxes while playing a performance protocol specifically designed for this research was observed by a qualified speech pathologist. Specifically, the observer analysed true vocal fold adduction, false vocal fold adduction, laryngeal height, pharyngeal space, epiglottis movement, and arytenoid adduction. This study reveals that laryngeal/pharyngeal participation in flute playing is not limited to vibrato production or specific techniques, such as singing and playing or flutter tongue (tongue rolling effect while playing). The larynx plays a major role in producing flute tone and dynamics and should be considered by pedagogues, performers and health specialists. These findings can assist flute professionals in their daily practice, performances and teaching. Knowing the role of the larynx in vibrato, articulation, pitch control, and dynamics control, reveals a new tool for flute players to use with assurance when preparing any piece of the standard repertoire, or teaching a student.

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Ryan, Shana Marie. "Master's flute recital." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/285.

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Reyes, Lidayne. "Graduate Flute Recital." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/544.

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These extended program notes place the repertoire of my Master’s recital in historical context and analyze the structure. The works discussed are Johann Sebastian Bach’s Sonata in E Minor for Flute and Continuo, BWV 1034; Paul Taffanel’s Andante Pastoral et Scherzettino for Flute and Piano; Sergei Prokofiev’s Sonata for Flute and Piano, op. 94; Aaron Copland’s Duo for Flute and Piano; and Olivier Messiaen’s Le Merle Noir (The Blackbird). I provide an individual essay for each piece, and the entries are chronologically organized according to the composition’s dates. This document aims to give the reader an overview of these works and assist in the understanding of the pieces’ most significant characteristics. This analysis was useful to me in preparing my graduate recital. It is my intention to elicit from the reader a similar appreciation of this repertoire.

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Real, Nicolas. "Flute Concerto [Score]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252808.

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Music Performance
D.M.A.
A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.
Temple University--Theses

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Kim, Yoon Hee. "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." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366280963.

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CHANDLER, BETH E. "The “Arcadian” Flute: Late Style in Carl Nielsen’s Works for Flute." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085004413.

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Chandler, Beth E. "The "arcadian" flute late style in Carl Nielsen's works for flute /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085004413.

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Treat, William Phelps. "A survey of flutists and flute activities in eighteenth-century America /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11423.

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Cannon, Angela Renee Fredrickson William E. "A preliminary study of the effectiveness of two breath management exercises on three aspects of flutists' performance duration, breath control, and tone quality /." Diss., UMK access, 2005.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2005.
"A dissertation in performance, flute." Advisor: William E. Fredrickson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Includes bibliographical references (leaves 178-183). Online version of the print edition.

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Wilcocks, Gerda Reinette. "Improving tone production on the flute with regards to embouchure, lip flexibility, vibrato and tone colour, as seen from a classical music perspective." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09132007-163345/.

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Stoltz, Liesl. "The French flute tradition." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7978.

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Bibliography: leaves 131-138.
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.

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Bassingthwaighte, Sarah. "Electroacoustic music for flute /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11390.

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Müller, Anna-Maria. "Intonasie in fluitspel [electronic resource] /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-09302008-111355/.

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Miles, Nancy H. H. "Finding your own speed : how flutists find music groups in which they like to play /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11446.

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Raposo, Jessica Ann. "Defining the British Flute School : a study of British flute performance practice 1890-1940." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31472.

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The British Flute School went through dramatic change in the twentieth century, as its leading players adopted elements of the French style of playing. These changes caused tensions that have led to a subjective oral history: a history which depicts two camps of flautists vying for the superior style, with one winner in the end. This document aims to provide a more comprehensive and more accurate history of the British Flute School from 1890 to 1940, and, through this investigation, explore what it means to define a style of playing in terms of both nationality and as a unified school. It will include not only an exploration of the interactions between the French and British flute schools, but also an in-depth examination of the influences of flautists of other nationalities, their career activities, performed repertoire, critical commentary in the press (primarily from The Musical Times and the London Times), British flute pedagogy, the recording industry, and aspects of the overarching musical culture in Great Britain. A survey of the active flautists of the time includes: John Amadio, Jean Firmin Brossa, Albert Cunningham, Edward De Jong, Louis Fleury, John Francis, Albert Fransella, Philippe Gaubert, Geoffrey Gilbert, Frederic Griffith, René Le Roy, Joseph Lingard, Gareth Morris, Marcel Moyse, Robert Murchie, Vincent Needham, Edith Penville, E. Stanley Redfern, Joseph Slater, and Lupton Whitelock. The document concludes with a proposal for a redefinition of the British Flute School that, like the culture from which it comes, values rather than disparages the diversity of its history.
Arts, Faculty of
Music, School of
Graduate

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Bradstreet, Jennifer. "The Singing Flute: Tone Philosophies from the French Flute School to the Present Day." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20251.

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The Singing Flute is written in four parts and surveys tone philosophies from past to present. It includes four significant flautists. Part I explores the French Flute School teachings of Marcel Moyse (1889-1984); the following three parts document tonal practices of current international flute experts: Philippe Bernold (France, 1960 -), Leone Buyse (USA, 1947 -), and Thies Roorda (Netherlands, 1954 -).

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Davis, John Edward 1954. "The extended alto flute: The history and development of the alto flute, with a study of modern alto flute design and its effect on extended techniques in alto flute repertoire and pedagogical materials." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288758.

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The purpose of this document is to trace the origin of the modern alto flute from its beginning through Theobald Boehm's design, compare the designs and acoustical qualities of modern alto and c-flutes; identify the various types of extended techniques found in contemporary alto and c-flute repertoire with attention as to how the realizion of these techniques may differ for alto and c-flute; and survey representative works for alto flute that incorporate extended techniques. Chapter I follows the development of larger flutes from examples found in Renaissance-period sources up to the early nineteenth century. Chapters II and III discuss Boehm's design innovations, identify specific parts of alto flute design that distinguish it from the c-flute, in in aspects such as air column diameter and volume, tone hole location and diameter, and head joint design. Chapters IV through VII investigate the origins of extended techniques on alto and c-flute and include explanation of various monophonic, microtonal and multiphonic techniques, and identify differences between alto and c-flute responses in these areas. Chapter VIII examines representative solo and chamber works for alto flute that incorporate extended techniques, with descriptions of the techniques and a grading system that rates these works on their level of extended technique difficulty. Three appendices are included: Appendix A is a quarter-tone fingering chart for the alto flute; Appendix B is a listing of alto flute multiphonic fingerings: Appendix C is a listing of descriptive notes for the multiphonics in Appendix B.

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Kim, Hyun Kyung. "Incipit for flute and computer." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2599.

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Thesis (D. Mus.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Van, Winkle Lisa K. "Sargon's Flute: A Pedagogical Discussion." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1186%5F1%5Fm.pdf&type=application/pdf.

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Michell, Paul. "Twentieth century Czechoslovakian flute music /." Title page, abstract and table of contents only, 1994. http://web4.library.adelaide.edu.au/theses/09MUM/09mumm623.pdf.

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Rodriguez, Jennifer. "Traité de la flûte historique, technique et pedagogique: A Study of René Le Roy's Flute Method." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157581/.

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In 1966, René Le Roy (1898-1985) and his student Claude Dorgeuille co-authored Traité de la flûte historique, technique et pedagogique. This treatise presents the culmination of Le Roy's career as a renowned performer and teacher in both Europe and North America. His approach to the study of music, as presented in the method, diverges from traditional French training, instructing teachers to compose exercises specific to the needs of the student and by using repertoire as source material. Claude Dorgeuille writes of the method, "...the Traité gives an outline analysis of the principal elements of technique, thus allowing exercises to be devised as appropriate to the needs of the individual." Using Le Roy's treatise, I demonstrate the application of his teaching to Jacques Ibert's Deux stèles orientées pour voix et flûte (1925), a work dedicated to and premiered by Le Roy, through the creation of individual exercises tailored to preparation of Ibert's work.

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Herring, Judith Ann. "A guide to intermediate-level flute concerti." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/487502.

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There exists a substantial lack of familiarity among flute teachers and music educators with extant publications of pertinent pedagogical flute repertoire at the intermediate level, specifically the concerto. Although readily available, suitable concerti for the important progression of the student from intermediate to the advanced level are often substituted with works too difficult technically and musically. In many situations, introduction and exposure to the concerto genre is virtually overlooked. Therefore, progression from an intermediate to an advanced level is often hampered, and a vital phase in the student's technical and musical development is neglected.This guide to intermediate-level concerti provides a systematic, methodical approach to the teaching of four concerti appropriate technically and musically for the established level of playing. The historical eras Baroque, Classical, Romantic, and Twentieth Century are each represented by one concerto.Chapters II, III, IV, and V provide a description of the concerto's evolution during the particular historical era specified. This examination is followed by a brief biographical sketch of the composer whose work is being discussed. The significance of each concerto in the composer's output is provided when such information is available. A list of all current and accessible editions is provided along with information about individual editors. An editorial paleography is supplied when more than one edition exists. Each of these four chapters concludes with a formal analysis of the concerto under discussion.Chapter VI provides a plan for the teaching and performing of each concerto. This plan is divided into two headings. The first is a didactic analysis of the following technical considerations: alternate fingerings, arpeggiated passages, double tonguing, meter, rhythmic patterns, and trills. Parallel etudes drawn from existing flute literature and original exercises by the writer are supplied. The second major area of discussion within the pedagogical analysis comes under the heading of the following interpretative considerations: articulation, breathing/phrasing dynamics, ornamentation, and tempo.The final chapter of the work includes a summary, conclusions, and recommendations. Three appendices contain moderately easy to intermediate, and intermediate to moderately difficult flute concerti as well as a publisher and agent code list.

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Lin, Horng-Jiun. "An Illustrated Basic Flute Repair Manual for Professionals." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211871566.

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Manabe, Reiko. "A preliminary manual of phonetics in flute playing." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3315201.

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Thesis (D.M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Feb. 9, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 17.

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Gill, Frances. "Flute Lines: Experiencing Reconstructions Concerning Music." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27479.

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This study elevates the importance of experience, the senses and tacit knowledge in relation to archaeology with a focus on music. With this I take up a thread drawing on theoretical aspects of Polanyi’s ‘Tacit Dimension’ and ‘Ingold’s Lines’. I review paradigms in experimental archaeology and music archaeology, and the subject of reconstruction in both. My case study is of four individuals, whose reconstruction models are connected to artefacts perceived as flutes in the archaeological record and/or notions of prehistoric flutes. Combining the way in which we learn by understanding others’ experiences through gesture and experience as data, my work examines these ideas in relation to wanting to find out about these flute-making people, and how their work is related to the canon of archaeology to which one might expect that it belongs, and if we can call this a tradition. What I found was that the praxis is complex and far reaching and stretches into various ontologies through philosophy, religion, emotionalism, intellectualism, symbolism, music, tradition, imagination, experience, sensation and identity, where interrelations of the past, present and future are very evident. I finally consider archaeology as an art which reveals parallels between archaeology itself and music. Paradigms in archaeologies in 2013 do not effectively support this praxis of flute making despite contextual experimentation showing welcoming promise for future change.

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Searls, Jesse Patrick. "Rhapsody for Flute and Wind Ensemble." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243905910.

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Ioan, Cristina. "Developing the flute tone through singing." Master's thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/1140.

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Mestrado em Música
Este estudo pretende propor um método alternativo para melhorar o som na execução da flauta utilizanto elementos da técnica vocal. É uma pesquisa interdisciplinar que consiste em desenvolver, experimentar e analisar exercícios e métodos para estudar flauta através do canto. ABSTRACT: This music study whants to propose an alternative method for developing the flute tone by using singing techniques. It is a piece of interdisciplinary reasearch consisting in developing, experimenting, and analyzing exercises and methods for practicing flute through singing.

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Bethea, Stephanie. "The flute music of Carl Reinecke /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/11434.

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Cameron, Kathleen Anne. "The Evolving Mission and Purpose of the Pittsburgh Flute Club in the Twentieth Century." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258681631.

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Shephard, Eliza. "The Glissando Headjoint." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/393197.

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In 2003, Robert Dick, international flutist and pedagogue, launched the glissando headjoint. This mechanism can be described as a telescoping flute headjoint with metal wings attached to the mouthpiece, which enhance a flute’s ability to bend pitch. The glissando headjoint was built on the inventions of Eva Kingma, Kaspar Baechi and Bickford Brannen. In the last 16 years, the glissando headjoint has failed to become as mainstream as the standard flute headjoint, despite its claimed potential as its replacement. Comparatively nominal repertoire has been written to include its use, and a nonstandardised approach to notation has resulted. The primary purpose of this research project was to contribute to the available repertoire and research surrounding the glissando headjoint, explore its possible opportunities and advocate its future relevance. Research methods included an extensive literature review studying formal and informal publications, a semi-structured interview of the inventor Robert Dick and practice-based research plus a variety of approaches to composer– performer collaboration incorporating national and international composers within my professional networks. This research explored the capabilities of the glissando headjoint, discussed the development of a standardised notation for the glissando headjoint, ascertained informational requirements of composers when creating new works for the headjoint and investigated further technical and timbral possibilities. While improvisation and the transcription of pre-existing works were utilised to further expand the existing glissando headjoint repertoire, these processes were not the primary focus of this study. Additional research outcomes include music exercises and increased accessible repertoire with complementary recordings for people new to the glissando headjoint mechanism. This research has also identified limitations of the glissando headjoint that could be explored in future research: the relatively limited enhancement of a flute’s pitch bends, and a lack of stability and continuity of the headjoint throughout a playing session. While this study would be of interest to those seeking to adopt new approaches to flute playing, it may also appeal to those seeking to modify non-flute traditional Western instruments.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Molumby, Nicole L. "The application of different teaching strategies reflective of individual students' learning modalities in the university flute studio class." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086122579.

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Thesis (D.M.A.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiii, 194 p.; also includes graphics (some col.), music Includes bibliographical references (p. 143-148). Available online via OhioLINK's ETD Center

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Shotton, William Howard. "Birds of Paradise." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/861.

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Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.

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Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.

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Roiko-Jokela, Miia. "Laconisme de l’aile : Exploring modern flute techniques." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3182.

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This thesis introduces the modern flute techniques used in the solo flute piece Laconisme de l’aile by Kaija Saariaho. The purpose is to find ways to excecute the techniques so that they serve the music in the best way. The techniques are divided in five groups based on how they are excecuted: effects made with the mouth, changing the timbre, multiphonics, effects made by fingers and diffenent sounds by blowing. As an attachment there is a recording of the piece and how the techniques sound in the context. At the end of the process it has been evaluated, if the modern techniques help with the ordinary flute playing as well.

A recording of Laconisme de l'aile by Kaija Saariaho

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Smyth, Jennifer. "Flute performance." Thesis, 1997. http://hdl.handle.net/2429/6361.

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Mackie, DC. "The flute study : a comparative data base of flute studies for the development of the pedagogy of the flute." Thesis, 1998. https://eprints.utas.edu.au/20667/1/whole_MackieDouglasClive1999_thesis.pdf.

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The purpose of this dissertation was to construct a database of flute studies for use by teachers and students. There are difficulties for teachers in the choice of suitable studies caused by geographic isolation or lack of familiarity with, or access to, the available study repertoire. There is also a need to identify currently available technical and study repertoire for the flute, according to criteria of suitability for particular needs of students. In order to address these problems a survey of teachers was undertaken to establish a comprehensive list of criteria relating to the perceived technical needs of students at various levels. Once this was done, approximately three thousand studies from the currently available technical study repertoire were analysed, using the developed criteria. Some collections of studies were also analysed and compared with the general repertoire, and catalogues examined to see if these could be a viable solution to teachers' difficulties. This was found not to be the case, and a database was presented as the most practical solution for teachers searching for studies which address specific technical problems.

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Hagen, Timothy M. "Doctoral thesis recital (flute)." Thesis, 2014. http://hdl.handle.net/2152/24398.

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Run before lightning / Jonathan Harvey -- NoaNoa / Kaija Saariaho -- Sonata: motion / Lawrence Dillon -- Rocket / Timothy Hagen -- Aria, op.48, no.1 / Erno Dohnanyi -- Sonata for flute and piano / Walter Piston.
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Carlson, Kirsten Therese. "Graduate recital." Thesis, 1995. http://hdl.handle.net/2429/4024.

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This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994.

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Martin, Joanna. "Doctoral thesis recital (flute)." 2010. http://hdl.handle.net/2152/11537.

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Pastorale et arlequinade for flute, oboe and piano / Eugene Goossens -- Trio for flute, violoncello and piano / Ned Rorem -- Towards the sea for alto flute and guitar / Toru Takemitsu -- Vox balanae for three masked players / George Crumb
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Lee, Chia-Jung. "Doctoral thesis recital (flute)." 2010. http://hdl.handle.net/2152/15903.

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Sonata in D major for flute and cembalo / J. G. Muthel -- L'oiseau blesse for solo flute / D. Gougeon -- Duo for flute and piano / A. Copland -- Introduction and variation on Trockne Bluemen from Die Schone Mullerin, D. 802 / F. Schubert.
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Martin, Joanna N. "Doctoral thesis recital (flute)." 2010. http://hdl.handle.net/2152/15945.

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Sonata "La flute de Pan" / J. Mouquet -- Sonata for flute and piano / P. Hindemith -- Barcarolle melancolique, op. 72 / C. Lefebvre -- Laconisme de l'aile / K. Saariaho -- Chant de Linos / A. Jolivet.
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Lee, Chia-Jung. "Doctoral thesis recital (flute)." 2011. http://hdl.handle.net/2152/16313.

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Olsen, Alison. "Master's thesis recital (flute)." 2011. http://hdl.handle.net/2152/16432.

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Sonata in G major, HWV 363b / George Frederic Handel -- Suite for flute and piano op. 34 / Charles-Marie Widor -- Duo for flute and piano / Aaron Copland -- Sequenza I for flute solo / Luciano Berio -- Fantasie on C. M. Weber's Der Freischutz / Claude-Paul Taffanel.
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Minaux, Francois. "Doctoral thesis recital (flute)." 2011. http://hdl.handle.net/2152/16458.

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Foliage op. 8 for flute and piano / Daniel Carr -- Sonata in A minor "Arpeggione" for flute and piano / Franz Schubert -- Around, awry for flute doubling picc. and organ / Ethan F. Greene -- Fantasiestucke op. 73 for alto flute and piano / Robert Schumann -- Sonata in A minor for flute and piano / Cesar Franck.
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47

Velasco, Daniel. "Master's thesis recital (flute)." 2011. http://hdl.handle.net/2152/16569.

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48

Slottow, Mackenzie. "Master's thesis recital (flute)." 2011. http://hdl.handle.net/2152/17033.

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Sonata in E major BWV 1035 / Johann Sebastian Bach -- Suite for flute and piano, op. 34 / Charles-Marie Widor -- Sonatine for flute and piano / Walter Gieseking -- Fractus III: Aerophoneme for flute and supercollider / Eli Fieldsteel.
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49

Lee, Chia-Jung. "Doctoral Thesis Recital (flute)." 2012. http://hdl.handle.net/2152/19388.

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Mashburn, Claire. "Master's Thesis Recital (flute)." 2012. http://hdl.handle.net/2152/19423.

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Sonata in F minor for treble recorder and basso continuo, TWV 41:11 -- Voice for solo flute / T. Takemitsu -- Fantaisie for flute and piano / G. Hue -- Sonata for flute and piano in A major / C. Franck.
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Dissertations / Theses on the topic 'Flute'

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