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Abstract

The baroque, one-keyed flute has, within the last half century, been rediscovered for performance, particularly within early music settings, and more recently has been welcomed into the area of contemporary music. This research continues to widen the boundaries of the modern baroque flute by building on its rich history in both technical aspects and practical performance, and by continuing to expand its musical and technical horizon through the extension of historical ideas and the introduction of new ideas within a contemporary idiom.

This document begins with a general description of the instrument itself, and explains tonal concepts and technical concerns of the baroque flute. An overview of historical ideas regarding tone production with descriptions by musicians of the 18th through the 21st century provides a basis from which to proceed to new techniques for tone production and their expressive potential. Audio examples are given of all new techniques. Lastly, an explanation is given of how the practice of new tonal-technique exercises a positive influence on conventional sound production.

An historical basis is provided by surveying a selection of major tutors from the 18th century through to the 21st and is illustrated with examples showing the evolution of ideas for articulation. An explanation of new, 'extended techniques' focussed on articulation is given and all are demonstrated with audio examples. The effects on conventional flute playing that are enhanced by the practice and integration of new techniques into the musician's sonic repertoire are also described.

Practical musical integration of new techniques into a composition and within ecosonic improvisation is explored. A brief explanation of the ecosonic system is given and the process used in developing directional ecosonic improvisation and new techniques for performance within the piece, Less, by Jo Thomas is explained. Notated and sound examples are used to illustrate the aptitude of the baroque flute as a contemporary musical voice. The final section asserts the expressive potential of new techniques, as regards both tone production and articulation, within various models employed through ecosonic improvisation.

Finally, the mapping of multiphonics for the baroque flute is documented in two complete catalogues; one is organised based on ecosonic fingering and the other is based on conventional fingering. Each catalogue entry is demonstrated with recorded examples.

Publication Type:	Thesis (Doctoral)
Subjects:	M Music and Books on Music > M Music M Music and Books on Music > MT Musical instruction and study
Departments:	School of Communication & Creativity > Performing Arts > Music Doctoral Theses School of Communication & Creativity > School of Communication & Creativity Doctoral Theses

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