The Flute

The instrument -- Performance -- The music -- Repertoire catalog -- Fingering chart for the Boehm flute -- Flute manufacturers -- Repair shops -- Sources for instruments and accessories -- Sources for music and books -- Journals, societies, and service organizations -- Flute clubs and societies.

(Music Sales America). Trevor Wye's acclaimed Practice Books for the Flute have now sold over one million copies and proved invaluable to players at every grade. Each book explores individual aspects of flute technique in concise detail. This revised edition features updated diagrams, clearer musical notation and improved overall design. This omnibus edition of all six books in the Practice Book series is invaluable for both amateur and would-be professional players. Together these books form a complete reference guide for players who are looking to overcome technical difficulties, and who are seeking advice on how best to practice.

Johann Joachim Quantz's On Playing the Flute has long been recognized as one of the primary sources of information about eighteenth-century performance practice. In spite of its title, it is not simply a tutor for the flute, but a fully-fledged programme for training musicians of all types, with detailed information on intonation, ornamentation, dynamics, the 'duties' of the various accompanying performers, including the leader of the orchestra, and the principal forms and styles (French, Italian and German) of the time. Although Quantz is most often identified as the teacher of Frederick the Great, his musical roots were in Dresden, the most brilliant musical establishment in Germany; and his travels and studies in Italy, France and England gave him direct experience of most phases of European musical life in the 1720s and 30s. This reissue of the second edition provides a wonderfully complete and detailed picture of musical taste and performance practice in the 18th century, and includes a new introduction by Professor Reilly, drawing attention to recent research on Quantz. Whether you want to learn to play the flute and be taught by the teacher of Frederick the Great, or just to gain a first-hand insight into the history of classical music, On Playing the Fluteis an essential and entertaining read.

This book tells the story of the flute in the musical life of Europe and North America from the twelfth century to the present day. It is the first history to illustrate the relationship that has bound the instrument, its music, and performance technique together through eight centuries of shifting musical tastes and practices. In a comprehensive and authoritative account of the flute's development, Ardal Powell takes full account of recent research: on military flutes and fifes of the fifteenth century, the renaissance consort flute, baroque and classical instruments, mechanically advanced nineteenth-century designs by Theobald Boehm and others, and further innovations that led to the modern flute. All these transformations are related to revolutions in playing style and repertoire, in the lives of flute players and makers, and in the uses of the instrument to play military, religious, consort, solo, chamber, opera, symphony, jazz, popular, and flute band music. For the first time the role of amateur flutists receives due consideration alongside the influence of famous players and teachers. The ultimate guide to the heritage of the flute, this volume will delight both those who play the flute and those who love its music.

For the first time the exercises and teaching methods of world-renowned flutist William Bennett are featured in one workbook. After more than a decade of study with Bennett and many of his students, Roderick Seed has documented the tools that have made Bennett known for his ability to give the flute the depth, dignity, and grandeur of the voice or the stringed instrument. Topics range from how to overcome basic technical difficulties, such as pitch control, to the tools for phrasing, prosody, tone, and intonation needed for playing with different dynamics and ranges of expression. Advanced musicians will find useful exercises and techniques in this book that will deepen their knowledge and enjoyment of making music and help them in their quest to master the flute.

Award for the Best First Book in the History of Religions from the American Academy of Religion Feminist theory and postcolonial theory share an interest in developing theoretical frameworks for describing and evaluating subjectivity comparatively, especially with regard to non-autonomous models of agency. As a historian of religions, Mary Keller uses the figure of the "possessed woman" to analyze a subject that is spoken-through rather than speaking and whose will is the will of the ancestor, deity or spirit that wields her to engage the question of agency in a culturally and historically comparative study that recognizes the prominent role possessed women play in their respective traditions. Drawing from the fields of anthropology and comparative psychology, Keller brings the figure of the possessed woman into the heart of contemporary argument as an exemplary model that challenges many Western and feminist assumptions regarding agency. Proposing a new theoretical framework that re-orients scholarship, Keller argues that the subject who is wielded or played, the hammer or the flute, exercises a paradoxical authority—"instrumental agency"—born of their radical receptivity: their power derives from the communities' assessment that they no longer exist as autonomous agents. For Keller, the possessed woman is at once "hammer" and "flute," paradoxically powerful because she has become an instrument of the overpowering will of an ancestor, deity, or spirit. Keller applies the concept of instrumental agency to case studies, providing a new interpretation of each. She begins with contemporary possessions in Malaysia, where women in manufacturing plants were seized by spirits seeking to resacralize the territory. She next looks to wartime Zimbabwe, where female spirit mediums, the Nehanda mhondoro, declared the ancestors' will to fight against colonialism. Finally she provides an imaginative rereading of the performative power of possession by interpreting two plays, Euripides' Bacchae and S. Y. Ansky's The Dybbuk, which feature possessed women as central characters. This book can serve as an excellent introduction to postcolonial and feminist theory for graduate students, while grounding its theory in the analysis of regionally and historically specific moments of time that will be of interest to specialists. It also provides an argument for the evaluation of religious lives and their struggles for meaning and power in the contemporary landscape of critical theory.

(Music Sales America). The "Beginner's Book" series by Trevor Wye encourages the enjoyment of playing and music-making and is ideal for group or individual instruction. Part Two expands your range of notes and looks at new rhythms and time signatures.

This is the flute. It sounds like yellow. Easy and mellow... Come along and sing with The Flute in Tiny Owl's new Children, Music, Life series, created by the award-winning picture book author and artist Ken Wilson-Max. This series explores different musical instruments from around the world and how they make you feel and move! Music is great for the physical, emotional, and intellectual development of babies as well as strengthening cognitive and sensory development. So hear the whisper of the flute, dance like a butterfly and enjoy making music with your baby!