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The Development, Tradition, and Global Influence of the Paris Conservatoire Flute Examinations.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
The Development, Tradition, and Global Influence of the Paris Conservatoire Flute Examinations./
作者:
Clark, Stephen J.
面頁冊數:
1 online resource (54 pages)
附註:
Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
Contained By:
Dissertations Abstracts International84-12A.
標題:
Music. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30314327click for full text (PQDT)
ISBN:
9798379720049
The Development, Tradition, and Global Influence of the Paris Conservatoire Flute Examinations.
Clark, Stephen J.
The Development, Tradition, and Global Influence of the Paris Conservatoire Flute Examinations.
- 1 online resource (54 pages)
Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
Thesis (D.M.A.)--The University of Alabama, 2023.
Includes bibliographical references
The French flute repertoire is without a doubt the foundation of recital and examination programs for classical flute players around the world. For over 200 years, the examination process at the Conservatoire National Superieur de Musique et de Danse de Paris has been the catalyst for an enormous contribution of pieces to the standard flute repertoire that are performed in concert halls, universities, and music conservatories around the world. This expansion of repertoire has been fueled further by the development of the flute during this period into the instrument that we are familiar with today. In this document, I explain why this specific portion of French repertoire, which originated as examination pieces, has become so popular.This document is paired with the following recital from January 2023: Jules Demersseman - Sixieme Solo de Concert, Op.82, (year of concours: 1896)Gabriel Faure - Fantasie, Op.79, (year of concours: 1898)Cecile Chaminade - Concertino, Op.107, (year of concours: 1902)Louis Ganne - Andante et Scherzo (year of concours: 1901)Philippe Gaubert - Nocturne et Allegro Scherzando (year of concours: 1906) Andre Jolivet - Chant de Linos (year of concours: 1944) I provide historical information on each of the composers and their pieces. Additionally, I label and organize the performance techniques demanded in these pieces. These strategies will allow the reader to better understand the challenges of each piece and understand why this repertoire serves the dual purpose of both music for the examination room and the concert hall.
Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023
Mode of access: World Wide Web
ISBN: 9798379720049Subjects--Topical Terms:
516178
Music.
Subjects--Index Terms:
Flute playersIndex Terms--Genre/Form:
542853
Electronic books.
The Development, Tradition, and Global Influence of the Paris Conservatoire Flute Examinations.
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The French flute repertoire is without a doubt the foundation of recital and examination programs for classical flute players around the world. For over 200 years, the examination process at the Conservatoire National Superieur de Musique et de Danse de Paris has been the catalyst for an enormous contribution of pieces to the standard flute repertoire that are performed in concert halls, universities, and music conservatories around the world. This expansion of repertoire has been fueled further by the development of the flute during this period into the instrument that we are familiar with today. In this document, I explain why this specific portion of French repertoire, which originated as examination pieces, has become so popular.This document is paired with the following recital from January 2023: Jules Demersseman - Sixieme Solo de Concert, Op.82, (year of concours: 1896)Gabriel Faure - Fantasie, Op.79, (year of concours: 1898)Cecile Chaminade - Concertino, Op.107, (year of concours: 1902)Louis Ganne - Andante et Scherzo (year of concours: 1901)Philippe Gaubert - Nocturne et Allegro Scherzando (year of concours: 1906) Andre Jolivet - Chant de Linos (year of concours: 1944) I provide historical information on each of the composers and their pieces. Additionally, I label and organize the performance techniques demanded in these pieces. These strategies will allow the reader to better understand the challenges of each piece and understand why this repertoire serves the dual purpose of both music for the examination room and the concert hall.
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