![]() In addition to these interpretive problems, most flutists remain totally unaware of the growing repertoire available which apply these techniques, despite their familiarity with so many books and periodicals discussing the subject. Consequently, performers must frequently make a choice between approximating the effects called for in the score, and following the composer's instructions, thereby producing results differing from the notated intention, particularly with respect to pitch content. Often, however, composers have either consulted erroneous sources for technical information, or have neglected to work closely with flutists who are experienced in handling the new sonorities, the result being compositions which are conceptually sound, but technically ambiguous or misleading. The composer and flutist may easily obtain information on available techniques, and can study the particular demands on the performer in the realization of these effects. Since 1966, information on the extension of flute sonorities has mushroomed, considering the number of sources available and the comprehensiveness of the material presented. 2 missing at the time of digitization and currently unavailable. Afterlight / Robert Dick - Cassandra’s dream song / Brian Ferneyhough - Lied / Heinz Holliger - Orbs with flute / Burt Levy - The shape of silence / Joyce Mekeel - Multiphonia / Jens-Peter Ostendorf - It grew and grew / Patrick Purswell - Riding the wind IV / Harvey Sollberger - Voice / Toru Takemitsu. ![]() Collage / Bruno Bartolozzi - Three mimes (no. of downloads : 420)ĭe Wetter-Smith diss 1.pdf 824.60 KB (No. Sound modification techniques in selected flute repertoire since 1966 / by Brooks de Wetter-Smithĭe Wetter-Smith diss 2.pdf 2.51 MB (No. Eastman School of Music - Sibley Music Library >
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