![]() Thompson’s definition of soundpainting as a sign language is central to the present artistic inquiry, based on different moments of artistic practice and on interviews with students and professional artists, and informed by an existentialist hermeneutic and yet pragmatic perspective. 1952), soundpainting is a conventionalized artistic practice designed to create artistic works in real time. Proposed in the mid seventies by the American musician Walter Thompson (b. In this thesis I focus on soundpainting-mediated musical experiences. ![]() In conclusion, new teaching tools animate repertoire largely inaccessible in traditional studios. Using the methodology of periodization training for athletes, the author provides a cogent solution for these deficits. (t)air(e) (1980-83) for solo flute by Heinz Holliger is used to illustrate such challenges. Stamina building has been a neglected topic. In works of the extreme complexity, demands of breath control are often excessive. The final section highlights a shortcoming in the pedagogy thus far. The progression teaches body awareness by emphasizing projection of sound through greater physical energy. This program builds on the acoustical similarities of each technique to allow greater continuity in teaching plans. Regarding extended techniques themselves, the author develops a study program stemming from the teaching methods of Robert Dick and Carin Levine. Using extended techniques to reframe and solve common technical problems offers new motivation to learn contemporary repertoire. ![]() ![]() Practical solutions for studying new scores are also given. Through a newly graded repertoire list, flutists have access to modern works in every level of flute study. Tools to encourage greater involvement in new music are developed. The author identifies causes and finds solutions to this problem. The lack of new music studied in university programs lies in the complexity and difficulty of the repertoire. Differences in approach, from Boulez to jazz, are correlated with the students’ partiality towards new music. Key words: Kampela, Arthur, 1960-, Flute, Extended techniquesĪbstract The dissertation begins by surveying university flute students and their teachers about their experiences with extended techniques. In an effort to assist flutists with their preparation of Happy Days, a digitalized performance edition with suggested fingerings and other advice has been prepared and included. To this aim, the study includes a detailed performance guide and analysis of the extended techniques and varied rhythmic notation specific to Kampela’s flute writing. Because Arthur Kampela’s music is extremely difficult and idiosyncratic, it is not performed as often as it deserves. The ultimate goal of this study is to encourage performance of these important contemporary Brazilian solo flute works. The thesis includes a general overview of Kampela's flute works and discusses various aspects of the composer's philosophy and style as evidenced in Elastics II and Happy Days, considering above all the interpretive aspect of his composition. This thesis focuses on the works Elastics II for flute, guitar and electronics and Happy Days for flute and electronic sounds by the Brazilian composer Arthur Kampela.
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