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. Abstract The dissertation begins by surveying university flute students and their teachers about their experiences with extended techniques.
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