Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns

The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm.

Syntaxes and metro-rhythmic categories in Viorel Munteanu’s Concerto for flute and string orchestra

the piece by composer Viorel Munteanu reveals the symbiosis between past musical ages and modernity, between established compositional techniques (of the string orchestra) and contemporary sound emission processes (the solo flute). The syntaxes of past trends in music, polyphony and homophony, as well as modern treatments of rhythm, such as polyrhythm, coexist felicitously and result in a type of musical thought that, although anchored in the past, looks forward to the future. Rhythm can be considered from various metric perspectives, especially in the faster parts of the concerto. Rhythmic layers are present both vertically (polyrhythms) and horizontally (polyphons of rhythms); the cross of the two variants is of particular interest. The aksak rhythm, characteristic of the Balkan area, may come as a surprise as it briefly occurs in Part III; this unexpected element brings an inspired change of horizon, followed by a return to the previous giusto expression. The form of the last part, Rondo, can also be discussed from a modern perspective, rooted in the past; it could actually be placed within in the Rondo-Sonata pattern; however, its sound contour does not belong to the tonal sphere, but rather to a form of extended modalism. The soloist instrument merges with the string orchestra and emerges from it, in a discourse that clearly bears the mark of the composer’s creative personality. The most successful element of the work is its expressiveness, the way in which the compositional and technical means are subordinated to the aesthetic message that Viorel Munteanu intends to transmit to the public.

Performance and Transcription of Baroque Solo Pieces for Bassoon

This essay examines the sources of the autograph and other copies of two selected solo pieces, J. S. Bach's Cello Suites and Georg Philipp Telemann's Fantasies for Solo Flute used to make a bassoon transcription. Using the special literature on the subject of the Baroque style of playing in general, the articulation, ornamentation, dynamics and tempi of the two pieces were determined. along with the role and playing possibilities of the period bassoon. Aspects of the transcription include: a brief description of the habitual Baroque transcription and its tradition, presentation and evaluation of other bassoon transcriptions of the selected pieces, detailed aspects of the author’s transcription of the articulation, ornaments, dynamics, tempi and breathing. Also discussed are the purpose of the completed transcription, its role in education, and its place in the bassoon repertoire. Keywords: bassoon, solo bassoon, baroque, transcription, Bach, Telemann

Re-embodying Syrinx in the ancient Peloponnese and French colonial Belle Époque: Investigating bodily change associated with sexual assault

This article investigates related contexts and connections that both hide and display the coercion and sexual violence manifest in Western cultural and aesthetic artefacts during ancient Greek and Roman eras and the French imperialist epoch. Exploring ‘Pan and Syrinx’ from Ovid’s ‘Book I’ of the Metamorphoses (8 ce) and Claude Debussy’s Syrinx (1913) for solo flute, I historicise the meanings of rape and sexual assault that informed Ovid’s epic and then revisit the genesis of Debussy’s Syrinx because of the uneasy elements surrounding its creation. I show how its cultural production is complicit with the imperial in several ways. I consider how sexual violence impacts voice, subjectivity and the body, and finally, I draw on Luce Irigaray’s work to sketch an embodied Syrinx in relation with others and her environment. I suggest the desiring potential of sexual difference, with limitations, as a generative conception of figuring the feminine-maternal body beyond masculine appropriation. In this way I open the myth up to watery material-social relations.

Debussy's Lasting Impact on Flute Composition

In 1913, French composer Claude Debussy penned a work for solo flute that to this day has remained popular in the flute repertoire. Syrinx, written to accompany a scene in the play Psyche, tells the story of Pan and Syrinx from Greek mythology. This poster project seeks to explain the impact that Debussy’s Syrinx has made on 20th and 21st Century flute composition. This impact included descriptive music, use of whole tone scales, freedom from strict meter, and a poetic performance style for the unaccompanied flute genre. Some elements of Debussy’s style come from his first encounter with Asian music at the World’s Fair. In the Baroque period, it was not unusual for composers to write for unaccompanied instruments. Scholars estimate that J. S. Bach’s Partita in A Minor was written sometime in the 1720s, while Telemann composed Twelve Fantasias for Solo Flute in 1732-33. After the Baroque period, the solo flute genre was absent from the repertoire until Debussy’s Syrinx. Nearly 200 years later, he gave the solo flute a new sound, which, in turn, inspired more composers to write for unaccompanied flute. The 20th Century surge of works written for solo flute is no doubt partially due to the further development of the instrument into its modern day form. However, the increase originates with Debussy’s Syrinx. Upon examination of the solo flute repertoire, it appears that Debussy is the composer most responsible for encouraging the composition of contemporary works for the flute. The research includes primary sources such as the score, the script to the play Psyche, and the abundance of subsequent solo flute compositions. Different online music resources were consulted for background information and musical interpretation.

Expressive Timing

“Expressive timing” refers to variation in performed durations among notes represented in a musical score with a single rhythmic value. The principal findings of the field are that performers use unequal durations to communicate grouping and metric structure, but these findings pertain primarily to performances of European solo piano music written between 1775 and 1850. This article presents three case studies of timing in repertoires at ever greater remove from those typically addressed: performances of Brahms’s Concerto for Violin, Varèse’s Density 21.5 for Solo Flute, and Kendrick Lamar’s 2015 rap track “Momma.” Through these case studies, the article expands the number of repertoires addressed by studies of expressive timing and, in doing so, expands the scope of music theory toward the study of multiple musical agencies.