D.M.A. Dissertation, The Mechanical Development of the Piccolo
Abstract
The purpose of this document is to explore the mechanical development of the piccolo in relation to the flute. Although there have been several studies conducted about the mechanical development of the flute, the piccolo has never received this special attention and deserves to have its story told. The piccolo has gained prominence as an integral part of the orchestra and has also become a popular solo instrument. Mechanically, the piccolo has developed slowly in relation to the flute from a one-key instrument to the modern Boehm system in use today.
The first step in this project began with an investigation of the writings that already exist on this subject, such as dictionaries, encyclopedias, books, and dissertations. Next, interviews were conducted with museum curators, instrument makers, and performers, and historical instrument collections throughout the world were examined. After careful review of these materials, a complete mechanical development of the piccolo has been developed.
Each chapter of this document examines the mechanical improvements in terms of the tube and materials, the headjoint, and the mechanism during each stylistic period. With careful examination of the physical properties of each instrument, the reasons for these changes will become clear. The following chapters will include pertinent information regarding the similarities and differences between the piccolo and the flute, the role and importance of families of flutemakers, as well as shed light on reasons why composers became interested in scoring for these small flutes.
Flute Talk Magazine, July 2008, "An Historical Performance Guide - Three Romances, Op. 94 by Robert Schumann"
Abstract
This work, along with others Schumann wrote at this time, explores the coloristic possibilities of the instrumental chamber idiom. Although the Three Romances can be imagined as songs without words and are attractive, charming, and readily comprehensible, they present flutists with extraordinary problems of stamina and endurance. Players will need a refined and controlled low register, both dynamically and tonally, to perform the work.
The moods of the pieces are tender, the colors expressive, and the melodies warmly impassioned. The flute sings, rising and falling as if it were the human voice. The melodic lines move either stepwise along the scale or with narrow leaps against a background of broken chords.
Sound Teaching Newsletter for Lesson Teachers at Music & Arts, November 2016, "A Masterclass That Inspires and Motivates."
Abstract
Observing a master teacher gives us the opportunity to evaluate our own teaching and learn new tricks, teaching methods, and pedagogical approaches. It also allows us to create new connections and further our support networks, not only for ourselves, but for our students as well. Observe masterclasses often, and the next time you do, decide what you would focus on with that student in order of importance and how you would prioritize and approach those issues. Put these skills to practice in a variety of settings and as often as you can. When we impart this knowledge on our students, we become more successful private teachers, see growth and retention in our studio, but most importantly, we motivate and inspire.
Abstract
The purpose of this document is to explore the mechanical development of the piccolo in relation to the flute. Although there have been several studies conducted about the mechanical development of the flute, the piccolo has never received this special attention and deserves to have its story told. The piccolo has gained prominence as an integral part of the orchestra and has also become a popular solo instrument. Mechanically, the piccolo has developed slowly in relation to the flute from a one-key instrument to the modern Boehm system in use today.
The first step in this project began with an investigation of the writings that already exist on this subject, such as dictionaries, encyclopedias, books, and dissertations. Next, interviews were conducted with museum curators, instrument makers, and performers, and historical instrument collections throughout the world were examined. After careful review of these materials, a complete mechanical development of the piccolo has been developed.
Each chapter of this document examines the mechanical improvements in terms of the tube and materials, the headjoint, and the mechanism during each stylistic period. With careful examination of the physical properties of each instrument, the reasons for these changes will become clear. The following chapters will include pertinent information regarding the similarities and differences between the piccolo and the flute, the role and importance of families of flutemakers, as well as shed light on reasons why composers became interested in scoring for these small flutes.
Flute Talk Magazine, July 2008, "An Historical Performance Guide - Three Romances, Op. 94 by Robert Schumann"
Abstract
This work, along with others Schumann wrote at this time, explores the coloristic possibilities of the instrumental chamber idiom. Although the Three Romances can be imagined as songs without words and are attractive, charming, and readily comprehensible, they present flutists with extraordinary problems of stamina and endurance. Players will need a refined and controlled low register, both dynamically and tonally, to perform the work.
The moods of the pieces are tender, the colors expressive, and the melodies warmly impassioned. The flute sings, rising and falling as if it were the human voice. The melodic lines move either stepwise along the scale or with narrow leaps against a background of broken chords.
Sound Teaching Newsletter for Lesson Teachers at Music & Arts, November 2016, "A Masterclass That Inspires and Motivates."
Abstract
Observing a master teacher gives us the opportunity to evaluate our own teaching and learn new tricks, teaching methods, and pedagogical approaches. It also allows us to create new connections and further our support networks, not only for ourselves, but for our students as well. Observe masterclasses often, and the next time you do, decide what you would focus on with that student in order of importance and how you would prioritize and approach those issues. Put these skills to practice in a variety of settings and as often as you can. When we impart this knowledge on our students, we become more successful private teachers, see growth and retention in our studio, but most importantly, we motivate and inspire.