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Libros sobre el tema "Flutter studies"

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Publicado: 6 de septiembre de 2023

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1

Drouet, Louis. 72 studies for the Boehm flute. AMsterdam: Broekmans en Van Poppel, 1994.

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2

Schmitz, Hans-Peter. Fürstenau heute: Flötenspiel in Klassik und Romantik. Kassel: Bärenreiter, 1988.

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3

Robison, Paula. The Paula Robison flute warmups book. Valley Forge, Pa: European American Music, 1989.

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4

Sollberger, Harvey. Quodlibetudes: For solo flute (1988). New York, N.Y: McGinnis & Marx, 1991.

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5

Andrews, Christina. Foundations of flute technique: Scale studies and etudes for the intermediate flutist. Chicago: Ecoutez Pub., 2001.

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6

Bernold, Philippe. 10 ans avec la flûte: Catalogue raisonné. Paris: Cite de la musique, 2002.

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7

Arlette, Bigett y Institut de pédagogie musicale (France), eds. 10 ans avec la flûte: Catalogue raisonné. Paris: Institut de pédagogie musicale et chorégraphique, 1989.

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8

Koizumi, Hiroshi. Technique for contemporary flute music: For players and composers. Japan: Schott, 1996.

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9

Association, National Flute, ed. The flutist's handbook: A pedagogy anthology. Santa Clarita, CA: The National Flute Association, 1998.

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10

Hériché, Robert. À propos de... la flûte. Paris: Billaudot, 1985.

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11

Cana'r ffliwt. Talybont: Y Lolfa, 1990.

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12

Herdt, Gilbert H. Guardians of the flutes: Idioms of masculinity. New York: Columbia University Press, 1987.

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13

Fürstenau, Anton Bernhard. Die Kunst des Flötenspiels. Buren, The Netherlands: F. Knuf, 1990.

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14

Fürstenau, Anton Bernhard. Die Kunst des Flötenspiels: Op. 138. Buren, The Netherlands: F. Knuf, 1991.

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15

author, Cai An'an editor, ed. Qing song xue chang di. Shanghai Shi: Shanghai yin yue xue yuan chu ban she, 2015.

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16

Guardians of the flutes: Idioms of masculinity : with a new preface. Chicago: University of Chicago Press, 1994.

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17

Farwick, Susanne. Studien zur zeitgenössischen Musik für Flöte solo in der zweiten Hälfte des 20. Jahrhunderts: Analytische Betrachtungen zu formalen, aussermusikalischen, nationalen sowie klangästhetischen Aspekten in der Musik für Flöte solo von 1950 bis 2006. Frankfurt am Main: Peter Lang, 2009.

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18

Farwick, Susanne. Studien zur zeitgenössischen Musik für Flöte solo in der zweiten Hälfte des 20. Jahrhunderts: Analytische Betrachtungen zu formalen, aussermusikalischen, nationalen sowie klangästhetischen Aspekten in der Musik für Flöte solo von 1950 bis 2006. Frankfurt am Main: Peter Lang, 2009.

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19

Studien zur zeitgenössischen Musik für Flöte solo in der zweiten Hälfte des 20. Jahrhunderts: Analytische Betrachtungen zu formalen, aussermusikalischen, nationalen sowie klangästhetischen Aspekten in der Musik für Flöte solo von 1950 bis 2006. Frankfurt am Main: Peter Lang, 2009.

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20

Jones, Michael, Norman Qureshi y Kim Rajappan. Atrial flutter. Editado por Patrick Davey y David Sprigings. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199568741.003.0117.

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Atrial flutter is the term given to one of the four types of supraventricular tachycardia; in it, atrial activation occurs as a consequence of a continuous ‘short circuit’: a defined and fixed anatomical route, resulting in a fairly uniform atrial rate, and uniform atrial flutter waves on the ECG. The ventricles are not a part of this arrhythmia circuit, and ventricular activation is variable, dependent on atrioventricular (AV) nodal conduction. Given that the atrial rate is essentially uniform (e.g. 300 min−1), ventricular activation tends to be regular (i.e. 150 min−1, 100 min−1, 75 min−1, etc., if the atrial rate is 300 mins−1), or regularly irregular if changes are occurring in the fraction of conducted impulses to the ventricles. When AV nodal conduction permits only 4:1 conduction or less, atrial flutter is usually obvious, but when ventricular rates are higher (150 min−1 or more) the flutter waves can be obscured by the QRS complexes, making diagnosis more difficult. Atrial flutter is of two types, typical and atypical. Typical atrial flutter is a right atrial tachycardia, with electrical activation proceeding around the tricuspid valve annulus. This arrhythmia is dependent on a zone of slow electrical conduction through the cavotricuspid isthmus (the tissue lying between the origin of the inferior vena cava and the posterior tricuspid valve). The resulting circuit can be either anticlockwise (activation proceeds up the inter-atrial septum, across the atrial roof, down the free wall, and then through the cavotricuspid isthmus to the basal septum) or clockwise (down the inter-atrial septum and around the circuit in the opposite direction). Anticlockwise typical atrial flutter is more common. Atypical atrial flutter refers to all other atrial flutters, and this includes other right atrial flutters (e.g. pericristal flutter), left atrial flutters, post-ablation or post-surgical flutters, and pulmonary vein flutters. The feature common to all types of flutter and which differentiates flutter from other types of supraventricular tachycardia is the presence of a macro-re-entrant anatomical circuit around which the electrical impulse travels continuously and repeatedly, thereby generating the flutter. Even though typical atrial flutter has a fairly obvious and specific appearance on the ECG, atypical flutters do not, and often it is only possible to differentiate atypical flutter from atrial tachycardias by invasive electrophysiology studies, as the ECG alone may be insufficient.
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21

Pressure wave propagation studies for oscillating cascades. [Washington, DC]: National Aeronautics and Space Administration, 1992.

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22

Parametric flutter studies of an arrow-wing configuration: Some early results. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1988.

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23

Olsen, Dale A. The Making of World Flutes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037887.003.0002.

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All cultures have their specific ways of constructing their flutes, which fit within their particular and usually unwritten music theories, aesthetics, and practices. Folktales and mythology, like music iconography, however, offer very little reliable descriptive information about flute construction techniques or even flutes as material objects; artistic license, such as exaggeration, understatement, ambiguity, hyperbole, deception, exists in both the narrative and visual arts. To understand why cultures construct their flutes in the ways they do, the narrative arts with their use of metaphor, symbolism, double entendre, and other ways of saying (and writing or singing) things often provide indigenous perspectives about processes, including flute construction. This chapter discusses the construction of some world flutes in three case studies: the Warao of Venezuela, the Buganda of Uganda, and the Japanese.
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24

Montaine, John La. Twelve studies for two flutes: Opus 46. 2017.

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25

Jazz Flute Studies. Faber & Faber, 2003.

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26

Eck, Emil. Practical Flute Studies. Alfred Publishing Company, 1985.

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27

Draeger, Jorg. Studies for Flute. Edition Melodie Zuerich, 1987.

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28

Wincenc, Carol y Benoit Berbiguier. 18 Studies for Flute. Leonard Corporation, Hal, 2012.

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29

Cavally, Robert y Bootsie K. Mayfield. Tone Studies: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2013.

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30

Henri, Altes. 26 Selected Studies. Schirmer Books, 1986.

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31

Cavally, Robert y Bootsie K. Mayfield. Velocity Studies, Book 3: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2014.

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32

Cavally, Robert y Bootsie K. Mayfield. Tone Studies, Book 3: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2014.

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33

Cavally, Robert y Bootsie K. Mayfield. Tone Studies, Book 2: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2014.

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34

Cavally, Robert y Bootsie K. Mayfield. Scale Studies - Book 1: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2013.

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35

Cavally, Robert y Bootsie K. Mayfield. Scale Studies, Book 3: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2014.

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36

Velocity Studies, Book 2: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2014.

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37

Viola, Joseph. Technique of the Flute: Chord Studies * Rhythm Studies. Leonard Corporation, Hal, 2018.

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38

Viola, Joseph. Technique of the Flute: Chord Studies * Rhythm Studies. Leonard Corporation, Hal, 2018.

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39

Joachim, Andersen. 18 Studies, Op. 41. Schirmer Books, 1986.

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40

Joachim, Andersen. 24 Studies, Op. 21. Schirmer Books, 1986.

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41

40 Rhythmical Studies for Flute. Alfred Publishing Company, 1985.

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42

Flute Methods, Studies, and Ensembles. CD Sheet Music LLC, 2001.

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43

The Technique of the flute: Chord studies, rhythm studies. Berklee Press, 2018.

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44

Cavally, Robert y Bootsie K. Mayfield. Velocity Studies - Primer: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2013.

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45

Cavally, Robert y Bootsie K. Mayfield. Tone Studies - Primer: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2013.

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46

Cavally, Robert y Bootsie K. Mayfield. Scale Studies - Primer: Developmental and Progressive Studies for Flute. Leonard Corporation, Hal, 2013.

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47

Guenther, Ralph. Practical Studies for Flute, Book I. Alfred Publishing Company, 1985.

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48

mayhew, kevin. Mel Bay 24 Studies for Flute. Mel Bay, 2002.

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49

Technique Of The Flute Chord Studies. Berklee Press Publications, 1986.

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50

Practical Studies for Flute, Book II. Alfred Publishing Company, 1985.

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