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Examining Musical Hybridity And Cultural Influences In Valerie Coleman’S Wish Sonatine And Fanmi Imèn, Brittany Marie Trotter

Graduate Theses, Dissertations, and Problem Reports

The purpose of this research document is to examine elements of musical hybridity and cultural influences in renowned African-American flutist-composer Valerie Coleman’s Wish Sonatine and Fanmi Imèn for solo flute and piano. Prominently known for her chamber music works, Coleman describes her compositional style as “urban-classical,” which infuses elements of popular American styles into modern Western art music traditions to highlight and encapsulate the cultural experiences of various diasporas of our time.

The most significant elements of hybridity and cultural influences examined in Wish Sonatine and Fanmi Imèn are programmatic imagery and compositional motifs. The programmatic imagery is represented through …

Acoustics Of Vowel Articulation In Flute Playing, Jose Fernando Ramirez

Graduate Theses, Dissertations, and Problem Reports

Through an experiment and series of acoustic analysis, this thesis evaluates if vowel articulation modifies flute sound. It is an initial investigation in a sequence of research on linguistics solving major questions in flute performance and teaching, and is a continuation of a previous pilot project called “Acoustics and Perception of Speech Sound on the Flute,” where participants attempt to distinguish vowel articulation of the mouth while playing the flute. In this thesis, the flute sound is tested acoustically to provide evidence of how vowels alter the timbre. To this end, a professional flutist recorded A=440 Hz in the three …

Contemporary Music Notation For The Flute: A Unified Guide To Notational Symbols For Composers And Performers, Ms. Eftihia Victoria Arkoudis

Graduate Theses, Dissertations, and Problem Reports

David Cope stated: “There are two basic approaches to the study of New Music Notation: codification and comprehension […] what really needs to be done is not to keep listing the diverse ways each composer symbolizes his music or create substantially new and negating systems of notation, but to concentrate on codifying one way for future composers to symbolize their music.”^[1]

In an attempt to limit the inconsistency and complexity characterizing contemporary notation idiomatic to the flute, this paper is the first to adopt Cope’s statement and ultimately apply it in relation to the notation of non-standard extended flute …