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.

Use of Extended Flute Techniques in Flute Education in Turkey

Extended flute techniques, which are frequently found in contemporary flute literature, carry the flute to a different dimension, pushing the boundaries of composers and performers. Although the number of pieces containing these techniques in the world has increased rapidly, along with Turkish flute repertoire, written Turkish sources about extended flute techniques are limited to theses and articles. In this research, the use of extended flute techniques in flute education programmes in Turkey was investigated. A survey method was used in the research, and 20 teaching staff members participated in the survey by answering the questionnaire. As a result of the research, it was determined that 18 teaching staff members included extended flute techniques in their flute education programmes, and 2 teaching staff members did not use these techniques in flute education, particularly because “the techniques and pieces do not accord with the levels of the students” and because of “the difficulty of the pieces”. In the conclusion, the difficulties faced by the teaching staff during training in extended flute techniques are summarized, and the suggestions of the teaching staff are mentioned.

Fit to Play: The Fitness Effect on Physically Challenging Flute Repertoire

This case study was done to determine whether physical fitness plays a part in performing flute repertoire. Most repertoire allows performers the choice of where to breathe. However, there exists a “brute” repertoire where breathing is prescribed by the composer, which poses physical challenges for performers. The author contrasted pieces from traditional repertoire with Heinz Holliger’s (t)air(e), which requires passages of breath-holding and measured inhalations. The author was tested for cardiovascular fitness (VO2max) and corresponded these levels to pulse rates while playing at baseline and 6 months after undertaking a physical fitness program.