First Advisor

Bellman, Jonathan, 1957-

Second Advisor

Hall, James

Document Type

Dissertation

Date Created

12-1-2016

Department

College of Performing and Visual Arts, Music, Music Student Work

Abstract

The flute has long been recognized for maintaining avian or mythological roles within music. The repertoire of the avant-garde era, however, has vastly changed the aural expectations to include more aggressive sounds through the use of extended techniques. Even though so-called extended techniques are often viewed as a new development, several have been in practice since the fourth and fifth centuries. A historical overview of such techniques demonstrates their significance in contemporary music. More recently, the solo flute repertoire has included interdisciplinary art forms such as theatrical elements, a much newer concept that was integrated during the mid-twentieth century. Though rarely found within the solo flute and piccolo repertoire, dramatics such as spoken text and physical movement were first incorporated in Voice in 1971 by Tōru Takemitsu and in Zungenspitzentanz in 1983 by Karlheinz Stockhausen. The use of theatrics helps to define the formal structure of the pieces as well as enhances the mood of the works and creates visual interest for the audience. This combination of concert music with performance art creates a niche for musicians hoping to develop ensembles that can venture beyond traditional performance categories.

Keywords

Extended Techniques, Flute, Piccolo, Stockhausen, Takemitsu, Theatrics

Extent

97 pages

Local Identifiers

Frost_unco_0161D_10527

Rights Statement

Copyright belongs to the author.

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