Dear flutists! The new 9th edition is out! In this issue, we are pleased to present 20 new articles! 4 new authors have joined us! We hope you realize how much new material has been written and how much valuable knowledge has been shared over these two years thanks to The Babel Flute and all 74 contributors from 27…
by Laura Chislett In 2022 I had the opportunity to travel solo to Europe which I hadn’t done for many a year. I visited some of the places where I had lived, worked or studied years before. A highlight was visiting Lucerne, during Festival time, where I caught up with Phoebe Bognar, who was playing in the Lucerne Festival…
di Marco Gaudino Il passaggio corretto dai suoni medio-alti a quelli acuti nel flauto non deve avvenire con tensioni esclusive focalizzate sulle labbra. Esso deve avvenire attraverso il sapiente uso del muscolo vocale detto “cricotiroideo”. Questo allunga le corde vocali, aumentando la velocità del flusso aereo in uscita dai polmoni e transitante per la glottide. Per glottide si definisce…
by Stefan Keller Curiosity – Versatility – Authenticity The Swiss professor for flute, traverso, expert in didactics, specialist for dynamic integration (Dynintegra) Eva Amsler lives a fulfilled life as a musician in many facets for and with the flute: old music on modern instruments; new music with electronics; mental training and stage fright; music and art in a broader…
Tracing a flutist’s unfolding practices and transitions By Dr Jean Penny Winding down through the Otway Ranges in southern Victoria, Australia, through steep hills and lush rainforest, the first glimpse of the sea, whether azure blue, green or purple grey, is always stunningly beautiful. It entices one immediately into the littoral zone, to the convergences of land and sea,…
by Jan Karman How it started One of my most favorite melodies of Bach, that I play on my flute, is his Alto Aria from Cantate BWV 170, “Vergnügte Ruh, beliebte Seelenlust”. Transcribed for his Oboe Concerto, it is written in D major, with this passage, going down to B. How would I ever be able to play this…
By Ebele The Flutist The Oja is as old as the Igbo people. The culture of the Igbo people is an ancient civilization, and their art of music is as old as the culture itself. You can’t relate age to folk art, and like most African societies, what we can call art today was part of a whole institutionalized…
Автор – Илья Дворецкий Читайте в предыдущих статьях: Основы игры на флейте. Часть 1. Постановка Основы игры на флейте. Часть 2. Дыхание. Основы игры на флейте. Часть 3. Постановка губ. Основы игры на флейте. Часть 4. Горло, полость рта и язык. Следующая часть из цикла уроков «Флейта – просто о сложном», расскажет об одном из самых важных и выразительных…
di Onorio Zaralli Ognuno nasce in un determinato territorio, fatto di storia, di natura, di tradizioni… Anche quando i casi della vita ci portano lontano dai luoghi di origine, rimane sempre qualcosa dentro di noi: un segno particolare, un ricordo lontano e profondo, il tratto distintivo della nostra identità, il colore e il calore di una personale emotività. Se…
Painting by Sevada Grigoryan (Սևադա Գրիգորյան) by Anush Naroyan Հայկական մշակույթը հայ ժողովրդի ստեղծած նյութական և հոգևոր ամբողջությունն է` ներառելով իր մեջ գիտություն,արվեստ,արհեստ,գրականություն,երգ,պար,ճարտարապետություն և այն ամենը ինչ ստեղծված է մարդու կողմից։Հայակական երաժշտության սկիզբ է համարվում մ․թ․ա․II հազարամյակը։Նման փաստեր մեզ են հասել հնադարյան պատմաբանների աշխատությունների շնորհիվ։ Հայ էթնոսի մշակույթա-կենցաղային և այլ բաղկացուցիչ մասեր կազմող ատրիբուտների հետ մեկտեղ,հայկական ինքնատիպ ժողովրդական երգն…
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