EXTENDED ESSAY

SUBJECT: MUSIC

How and for what purpose(s) are extended flute techniques

used to convey ideas of emotion in the works of Robert Aitken?

Exam session: November 2020

Personal code: HYQ660
Word count: 3989

 TABLE OF CONTENTS
INTRODUCTION 4

1.1 Research question 4

1.2 Introduction 4

1.3 Methodology 4

CONTEMPORARY FLUTE TECHNIQUES 5

2.1 Multiphonics 5

Fig. 1. Multiphonic extract from Sequenza I (1958) 5

2.2 Dual voice 5

2.3 Whistle tones 5

2.4 Trills and tremolos 6

2.5 Glissandi 6

2.6 Microtones 6

ANALYSIS OF PLAINSONG (1980) 7

3.1 Synopsis 7

3.2 Free time 7

Fig. 2. Line 6, page 2 of Plainsong (1980) 7

Fig. 3. Line 5, page 2 of Plainsong (1980) 7

3.3 Multiphonics 8

Fig. 4. Line 1, page 1 of Plainsong (1980) 8

Fig. 5. Line 4, page 1 of Plainsong (1980) 8

3.4 Dual voice 9

Fig. 6. Line 1, page 2 of Plainsong (1980) 9

Fig. 7. Line 3, page 5 of Plainsong (1980) 10

Fig. 8. Line 1, page 5 of Plainsong (1980) 10

3.5 Whistle tones 11

Fig. 9. Line 6, page 1 of Plainsong (1980) 11

Fig. 10. Line 7, page 6 of Plainsong (1980) 11

Fig. 11. Line 6, page 6 of Plainsong (1980) 12

ANALYSIS OF ICICLE (1978) 13

4.1 Synposis 13

 4.2 Trills, tremolos and glissandi 13

Fig. 12. b. 85-75 of Icicle (1978) 13

Fig. 13. b. 6-19 of Icicle (1978) 13

Fig. 14. b. 39-41 of Icicle (1978) 14

Fig. 15. b. 25-30 of Icicle (1978) 14

4.3 Microtones 15

Fig. 16. b. 48-53 of Icicle (1978) 15

Fig. 17. b. 82-85 of Icicle (1978) 15

CONCLUSION 16

5.1 Research question 16

5.2 Evaluation 16

5.3 Conclusion and implications 16

BIBLIOGRAPHY 17

APPENDICES 20

A. Plainsong (1980), page 1 20

A. Plainsong (1980), page 2 21

A. Plainsong (1980), page 3 22

A. Plainsong (1980), page 4 23

A. Plainsong (1980), page 5 24

A. Plainsong (1980), page 6 25

B. Icicle (1978), page 1 26

B. Icicle (1978), page 2 27

B. Icicle (1978), page 3 28

C. Transcript from interview with Lina Andonovska 29

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INTRODUCTION
1.1 Research question
How and for what purpose(s) are extended flute techniques used to convey ideas of emotion in the
works of Robert Aitken?

1.2 Introduction
A significant concert instrument for centuries, the versatility of the flute has allowed it to be a
prominent face within several genres of music. Contemporary times bring ideas of free expression
to the world of not just the flute, but music more broadly. The contemporary movement is founded
on responding to and reworking a musical system which has aged for centuries. The reason I have
chosen this topic is that as a flautist, I have a strong love for my instrument, and because I find the
works of contemporary experimental artists liberating and evoking a richer type of musical and self
identity. I have chosen to study the solo flute works Icicle and Plainsong, by Robert Aitken (1939-) a
prominent Canadian face in the contemporary scene. This has present-day relevance as we are in a
time where traditional ideas of harmony are being tackled and extended (Andonovska, 2020) with
newer concepts. The works of Aitken present a range of extended flute techniques and it is crucial
to understanding their meaning, significance and purpose to develop a broader understanding of
contemporary music in general.

1.3 Methodology
To conduct this research essay I will firstly investigate extended flute techniques in general, then
present a thesis for each of the two pieces which I have chosen, followed by a detailed study of the
application of six significant extended flute techniques, which I have listed in the following
paragraph. I will consider intentions of and influences on the composer, as well as interview Lina
Andonovska, a contemporary German flautist, to develop a comprehensive understanding of
emotion; I will do this because I acknowledge that emotional analysis of music is o en subjective.

Extended flute techniques have developed over the contemporary period, proceeding the Modern
period in the 20th century (Penny, 2009). Distinguishing characteristics of contemporary music
include complex rhythms, prominent dissonance and percussive, synthetic and electronic sounds
(Penny, 2009), however this is non-exhaustive. In his 1995 treatise, Artaud lists significant extended
flute techniques, including multiphonics, dual voice, whistle tones, microtones, trills, tremolos and
glissandi. It is important to di erentiate contemporary from extended techniques; as Andonovska
(2020) highlights, whilst extended techniques are contemporary in their application, they push what
have traditionally been seen as technical limitations of an instrument, whereas contemporary
techniques could be phrased as ‘present-day’.
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 CONTEMPORARY FLUTE TECHNIQUES

2.1 Multiphonics
Multiphonics are an extended technique for the flute and other wind instruments, involving the
execution of multiple simultaneous pitches. This is achieved through fine embouchure control to
direct airflow and the use of special fingerings to enable multiple airstreams to resonate inside the
flute, creating multiple frequencies. Multiphonics enable solo flutes to play chords, whereas regular
phonics would require multiple instruments to execute this. O en, multiphonics have two notes
with an octave interval. These are commonplace in the music of Aitken, particularly in Plainsong
(1980). One of the first applications of multiphonics for flute was in the solo work Sequenza I (1958)
by Italian composer Luciano Berio (1925-2003) (Vienna Symphonic Library, n.d.); an excerpt is shown
below:

Fig. 1. Multiphonic extract from Sequenza I (1958)

Multiphonics were originally called for in pieces of high technical demand and were used to
demonstrate performative prowess. The technique itself does not connote emotion as it is simply
the superposition of multiple notes; emotion is achieved through the application and consideration
of harmonic and melodic elements such as intervals. I will investigate how and for what purpose
multiphonics are applied in Aitken’s works.

2.2 Dual voice

The dual voice technique is another type of multiphonic, as it involves the production of two
airstreams but di ers in that one is produced by the player’s voice and one by the flute. This
technique brings timbral and textural variation, resulting from the nature of the player’s voice. For
example, in Munkyung Lee’s performance of Plainsong (Lee, 2017), the dual voice on line 1, page 2
(1:40) has a brighter timbre than Aitken’s own performance of the same excerpt (Aitken, 2009).

2.3 Whistle tones

Whistle tones are an extended technique more known as the application of the whistle register in
choral music, but are also found in flute music. A project of the Munich University of the Arts,
FluteXpansions, defines a whistle tone as a low-pressure and velocity airstream which resonates
across the embouchure plate, as opposed to inside the tube of the flute, like other registers. Whistle
tones are o en the sixth or seventh harmonic of a series, and are limited to mezzopiano (mp) at

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 most (FluteXpansions, 2014). Whistle tones have a light and airy texture, which connote themes of
cold and hollow. Their use is noted as emerging in “contemporary performance practice, in notated
art-music, jazz, and other contemporary improvisation” (Bennett & Giles, 2015).

2.4 Trills and tremolos

Trills and tremolos have been a technique in flute music for centuries since at least the Baroque
period (O’Donnell, 2011), but find unique applications in contemporary music. Andonovska states in
a student interview that “the evolution of flute techniques [trills, tremolos] is just responding to the
evolution in society; they go hand in hand” (Andonosvka, 2020).

2.5 Glissandi
Like trills and tremolos, glissandi are not an extended technique as-is, however are specifically an
extension to flute repertoire. It is di icult to achieve a true glissando on the flute as it is a woodwind
instrument, but it is easy to do so on stringed or sliding brass instruments, such as the viola or
trombone. The execution of glissandi on the flute requires robust key control, and is “almost
impossible to achieve on the plateau flute” (Campbell, Greated & Myers, 2004); it is essentially
exclusive to open-hole flutes. This could thus carry consideration of other qualities of the open-hole
flute in its applications, thus guiding emotional connotations with glissandi. Glissandi involves the
use of alternative fingerings to produce non-chromatic pitches, in combination with shi ing the
finger along the keyholes of the open-hole flute. This enables the creation of a ‘gliding’ e ect
between conventional notes on a Western chromatic scale (Campbell, Greated & Myers, 2004).

2.6 Microtones
Microtones are an extended technique involving the separation of semitones into smaller intervals,
such as quarter-tones. Music calling for microtones o en refers to the sesquiflat (¾-flat), demiflat
(½-flat), demisharp (½-sharp) and sesquisharp (¾-sharp) accidentals, in addition to the convention
(double) flat and sharp. In Western music, microtones were first theorised in 1823 by Heinrich
Richter (Rushton, 2001). However, it is important to consider ethnocentrism to Western cultures in
contemporary music. Microtones are not extended techniques in Middle Eastern and North African
(MENA) cultures; they have centuries-long use as standard musical scales (Spector, 1970).
Contemporary Western applications of microtones di er greatly from traditional MENA use. For
Aitken, whose audience is primarily in the Western world, microtones are harmonically unfamiliar.
They produce a scale more blended than the Western chromatic scale, which is based on semitone
intervals.

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ANALYSIS OF PLAINSONG (1980)
3.1 Synopsis
Plainsong (1980) is a technical study piece which Aitken composed for performance at the opening
of a Parisian research centre and conservatory (Aitken, 2009). The highlight of this piece is its
significant use of multiphonics, complemented with dual voice and whistle tones. It invites the
listener to develop a clearer understanding of what an extended flute technique is and how its
versatility allows it to be used in a range of applications. The aim of this analysis is to interpret
Aitken’s use of extended flute techniques and determine his emotional and harmonic intention.

3.2 Free time

Free time is a type of meter, known as an anti-meter, because of its distinct lack of bar lines and/or a
time signature. Aitken’s composition Plainsong demonstrates both characteristics. Free time is
described as an extended compositional technique where the “rhythmic conception” of the
composer is separate to the written notation (Messiaen, 1944). Moreover, any bar lines or other
performance markings such as breath marks serve only as “aids for the performer” (Liang, 2016).

Fig. 2. Line 6, page 2 of Plainsong (1980)

Figure 2 demonstrates Aitken’s use of free meter in Plainsong. In this extract, a rhythm is repeated
(enclosed in red) with breath marks to indicate where the performer should insert short breaths.
Whilst this extract demonstrates a sense of rhythm, it is important to consider context. The
repetition of this motif is not allowed to establish stability and rhythm as it preceded and proceeded
by significantly di erent notation, as shown in Figure 3.

Fig. 3. Line 5, page 2 of Plainsong (1980)

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 The single repetition of a triplet motif in Figure 3 is of note, just as in Figure 2. While Aitken uses
elements of rhythm in Plainsong, they are not significant or sustained enough to evoke an emotional
response from the audience. In fact, referring again to Figure 2, it should be noted that the audience
will struggle to perceive a meter. As London describes, there are lower and upper limits to the
“inter-onset interval for metric elements” in order for the listener to perceive “regular patterns of
strong and weak beats” (Liang, 2016). The inter-onset interval refers to the time period between the
onset of one musical note and that of the next. This is defined as “greater than 100ms (10 per
second) and less than 1.5-2.00 seconds” (London, 2004). Aitken demonstrates his intention for this
piece in his own performance, in which the extract from Figure 2 is played significantly slower than
London’s framework of 0.1-2 seconds (Aitken, 2009). Nonetheless, it is important to consider that
interpretation is le to the performer. Thus, Plainsong has a free meter. When listening to this piece,
the audience is likely to experience a blended range of emotions. My personal experience listening
to this piece was as such, and also included feelings of being lost and submerged. This ties in to
London’s findings that an audience will struggle to interpret a regular meter (London, 2004). Aitken
has used free meter in Plainsong, and as a result it can be discerned that it mixes together feelings of
being lost and finding place and satisfaction into a free-flowing emotional platter.

3.3 Multiphonics
Multiphonics are an extended technique involving the production of two pitches at once. This
technique is achieved through fine control of the player’s airflow into the flute, which is split into
two di erent frequencies. Multiphonics in Plainsong are frequent and superpose textures with a
dark timbre. Aitken employs multiphonics in the opening line of Plainsong, as shown in Figure 4.

Fig. 4. Line 1, page 1 of Plainsong (1980)

Fig. 5. Line 4, page 1 of Plainsong (1980)

As in Figure 4, the opening line of Plainsong beings on a sustained C5 (boxed in red), tied to a
multiphonic in octaves (boxed in red). This is featured again in following sections, where a third,

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lower octave is introduced (boxed in red). The timbre of the sound here darkens and personally it
suggests a threat or looming danger, an idea which is further developed through the use of low-
register multiphonics shown in Figure 6. Moreover, in Figure 4, the foreboding opening is suggested
by the use of a stretched out musical turn starting on C6. Whilst not using the turn symbol (T), it

follows the solfège pattern of do, di, do, ti, do. Aitken uses the turn in the opening of Plainsong
because it appears to ‘inch’ around a sharp edge, aided by the shrill quality of the C6 on the flute
(Artaud, 1955). Multiphonics develop the framework of feelings of being lost, introduced through
free meter, by creating an unknown atmosphere for the audience.

3.4 Dual voice

Thematic extensions are drawn on multiphonics through Aitken’s superposition of the flute and
human voice as a technique to create a unique sonorous quality and distinct type of multiphonic.
They first appear on the second page of Plainsong (see Figure 6), as a modified tertiary development
of the turn motif in the opening line. Comparing to earlier developments of this motif in Figures 4
and 5, descending pitch signifies depth and submersion as the audience is introduced to the
composition.

Fig. 6. Line 1, page 2 of Plainsong (1980)

Liu, Xu, Alter & Tuomainen (2018) studied the relationship between timbre and emotional
interpretation of the sounds of various musical instruments, including the flute and human voice.
Their study describes the timbre of the flute as “with more energy” and “more like grieving sadness”
than the human voice, which sounded “more like depressed sadness” (Liu, Xu, Alter & Tuomainen,
2018). In the study, ‘depressed sadness’ was partially characterised by more prominent low
frequencies than ‘grieving sadness’. Aitken’s superposition of the flute and human voice is thus
informed by an understanding of the timbral contrast they create. It builds on the shrill character of
the flute in its middle register by imitating a choir of voices. The timbre broadens, becoming both
bright and dark. Timbre is thought to be an “important factor that a ects the perception of
emotions” (Zhang et al., 2019). A further study, Zhang et al. (2019), studies the relationship between
timbre with emotional perception of the sounds of various instruments. It finds strong evidence that
the timbre of the human voice and flute evoke significantly di erent emotional responses in

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 listeners, supporting Liu, Xu, Alter & Tuomainen (2018). Notwithstanding this evidence, Aitken
recognises how individual vocal di erences influence the quality of sound produced. Such is shown
in Figure 7:

Fig. 7. Line 3, page 5 of Plainsong (1980)

The falsetto is a high register, characterised by a shrill timbre and muted, flat texture; Aitken’s own
performance of Plainsong demonstrates this (Aitken, 2009). Falsetto is used in this excerpt to
complement the warm and dark quality of the flute’s lowest register. The excerpt personally evokes
imagery of a careful balancing act between two opposing fields, alluding to broader themes of
harmony, conviviality and plainness, the namesake of this work. However, the dual-voice technique
is also used by Aitken to explore speed..

Fig. 8. Line 1, page 5 of Plainsong (1980)

Figure 8 shows the beginning of a section in page 5 of Plainsong. In this extract, Aitken uses ties
connected to one note only to mark sustained notes, rather than using alternative note heads and
flags. In his 2009 performance of Plainsong, Aitken executes each connected note beam as a roughly
equivalent element, accelerating and decelerating with each. This application of free meter allows
this section to develop tension, personally suggesting an anxiety or looming threat. Aitken’s
previous applications of the dual-voice technique evoke harmony and plainness, contrasting the
tension built here. It thus becomes apparent that Aitken composes to peek into the ‘hallways’ of
many emotions, leading to an overall sense of plainness.

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3.5 Whistle tones

Aitken uses whistle tones infrequently, but each use is considered and intense. Whistle tones first
appear in Plainsong as secondary to developing the opening multiphonic turn (see Appendix A),
shown below:

Fig. 9. Line 6, page 1 of Plainsong (1980)

Aitken’s notation shows a graph of the desired melody line of the whistle tones, so to say. Visually
and aurally (Aitken, 2009), this technique appears haphazard and impatient, as a result of its
alternating pattern of pitches. As Plainsong is in one way a technical étude, it reflects the “unstable
sonorities of whistle tones” (Penny, 2009) and the “jump around the harmonic series” (Seed, 2018).
This develops emotions of worry and anticipation of a major shi in musical quality in the audience.
The latter of these is fulfilled for the audience, as the extract in Figure 9 is proceeded by three
emphatic multiphonics, shown in Figure 6. Each of these is marked s z, indicating a very strong
sforzando. Thus, this example of whistle tones demonstrates how they build anticipation, while a
plateauing and declining pitch brings resolution.

Fig. 10. Line 7, page 6 of Plainsong (1980)

Aitken ends his composition using whistle tones (boxed in red). Instead of preceding, this sequence
proceeds a key clap on C4 (see Appendix A for Aitken’s notation guide), which is marked s z. It rises
in pitch and plateaus marked with a square fermata, explained in Aitken’s performance directions as
a very long pause, longer than a round (normal) fermata. This would prolong anticipation and
longing in the audience, but the use of a decrescendo partially negates.

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Fig. 11. Line 6, page 6 of Plainsong (1980)

As with other extended techniques in Plainsong, Aitken finds balance and moderation in his
application of whistle tones. Figure 11 shows qualities of restriction and precision, in that the whistle
tones instructed to be played by the performer are given definite pitches, F6 and G6. They are also
given temporal value in the context of the composition; they are written with a joined quaver beam.
Whilst a key di erence for the composer and performer, this is insignificant to the audience. As in
both Aitken’s (2009) and Lee’s (2017) performances of Plainsong, the extract in Figure 11 appears
similar to those of Figures 9 and 10. Ascending pitch from F6 to G6 aids this as the other examples
use an undefined pitch ascension, and the slur blurs together notes, just as linear notation does in
Figures 9 and 10. It is clear that Aitken moderates whistle tones to bring satisfaction and comfort
back to the audience of his composition.

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ANALYSIS OF ICICLE (1978)

4.1 Synopsis
Icicle (1978) was commissioned by Éditions Transatlantiques Paris as a work for the young flautist.
According to Dr. A. Cook, a fellow of Assimakopoulos, whose performance of Icicle is one of the
better-recognised, the piece was ideated “on a winter day in New Hampshire” with “glistening
icicles” (Cook, 2016). This analysis will consider emotion in Aitken’s use of extended technique.

4.2 Trills, tremolos and glissandi

Trills are a technique applied liberally throughout Icicle and Aitken extends upon conventional
approaches to using them in his composition.

Fig. 12. b. 85-75 of Icicle (1978)

One particular type of trill which Aitken uses, shown in Figure 12, involves the rolling of the “tongue
inside the mouth to produce a rippling e ect in the tone” (Aitken, 1978). The audience is as a result
presented with a warm, rounded sound, reflective of the circular motion of the player’s tongue.

Fig. 13. b. 6-10 of Icicle (1978)

The sequence in Figure 13 is a repetition of the motif in bars 1-5, the opening line of the piece. Trills
are used on each semiquaver on the o -beat to slide up or down to the next note. The rhythm
accelerates, as each double dotted crotchet becomes a dotted quaver in bar 9, and then a trilled C#5
in bar 10. Aitken’s trills build a sense of movement and convergence, like droplets of water
accelerating as they slide down an icicle. Extending from trills, tremolos are a technique which

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facilitate the creation of a blending between registers and di erent musical qualities. They are a tool
functionally similar to glissando but texturally thicker (Artaud, 1995; Penny, 2009).

Fig. 14. b. 39-41 of Icicle (1978)

Like in Figure 14, tremolos are frequently combined with microtones. This reinforces the extended
theme of blending the gaps between notes on the 12-tone scale, and procuring emotions of
excitement arising from the visual imagery of an icicle in a cold ice cave. The tremolos are in the
flute’s middle register, which has a bright timbre, allowing for the intervals to be perceived as larger
and have more energy than actually (Russo & Thompson, 2005). Thus, Aitken’s use of tremolos
brings a sense of anticipation and excitement to Icicle by increasing its energy. In addition to
tremolos, Aitken uses glissandi in Icicle as a transitory technique, signalling a tonal shi . For
example, in Figure 14, a glissando is used to build preliminary tension before evoking growing
anticipation in bars 27-29 using an accelerating trill.

Fig. 15. b. 25-30 of Icicle (1978)

This glissando informs the purpose of this extract, which is to construct rising action. The shape of
both the glissando against the sta and the triangular quaver beam in bars 28-29 resemble that of an
icicle. This, in combination with the rolled-tongue trill in Figure 12, pictures a conical ice crystal,
with a droplet of water rolling down its side. The prolonged A-Bb trill moves the audience to
anticipate the plop of the water droplet o of the icicle.

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 4.3 Microtones
In Icicle, Aitken employs microtones through the use of alternative fingerings to utilise the way they
“naturally di er in timbre … from the surrounding pitches” (Sundberg, 2013), such as in Figure 16.

Fig. 16. m. 48-53 of Icicle (1978)

These timbral variations create a thinner texture, which evokes the skinny and fragile form of an
icicle (Andonovska, 2020), as well as the associated ideas of cold and emptiness. Breault (2013) finds
the same evocation. Furthermore, they interpret the alternatively fingered microtones to create a
sound which is “more fragile” (translated from French) than those of conventional fingerings and
intonations (Breault, 2013). These findings are expanded on by Sundberg in his dissertation, where
he illustrates a spectrum of tone colour. To the le of this spectrum lie descriptors such as
‘transparent’, ‘light’, and ‘hollow’. To the centre lies ‘balanced core with air cushion, and to the right
lie ‘dense’, ‘dark’, ‘edgy’, ‘metallic’ and ‘smooth’. Sundberg states that microtones on the concert
flute o en “tend toward the le end of this spectrum, as do C#5, E4, E5 and E6” (Sundberg, 2013). It is
interesting to note that Icicle makes significant use of C#5 (Db5).

Fig. 17. b. 82-85 of Icicle (1978)

Aitken also uses microtones to establish a more intense idea of chromaticity. As in Figure 17, a
repeating descending chromatic scale uses microtones to allude to a smooth glissando. However,
what is created is a middle ground between that and a marked, stair-like semi-tonal descent. This
creates the imagery of water droplets sliding down an icicle, dropping to another surface, then
sliding once again.

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 CONCLUSION
5.1 Research question
How and for what purpose(s) are extended flute techniques used to convey ideas of emotion in the
works of Robert Aitken?

5.2 Evaluation
The analysis presented is subjective but retains high internal validity through triangulating data from
other analyses, notably Breault (2013), which provides an analytical benchmark for this essay.
However, the range and integration of primary data to this essay is lacking. The interviewee
expressed a lack of experience with the music of Aitken despite their authoritative voice as a lead
flautist of Southern Cross Flautists. Aitken was contacted for comment on his compositions but did
not respond. Originally, the essay referred to ‘contemporary’ techniques, however the interviewee
expressed that it would be more appropriate to refer to these as extended techniques. Such
di erentiation is important as contemporary music can be an extended synthesis of traditional
genres. Moreover, the interviewee argues that “the evolution of flute techniques is just responding
to the evolution in society” (Andonovska, 2020). Another consideration is the di ering perspective
of the performer and the audience, in terms of developing a physical connection to playing versus
hearing music. Greater focus could be brought about by pronouncing this di erence, as it remains
unclear whether this essay focuses primarily on the performer or the audience.

5.3 Conclusion and implications

This essay has studied extended flute techniques used in Plainsong and Icicle, two works by Robert
Aitken, to determine how and why they are used, through an emotional lens. It is concluded that
these techniques are a powerful, flexible emotive tool, from the diverse evocations of tension,
anticipation, shock, satisfaction and comfort in Plainsong, and coldness, excitement and motion in
Icicle. Aitken’s greater purpose with achieving such emotion is to demonstrate the virtuosic
applications of extended flute techniques, lending to the claim that “extended techniques […]
strengthen regular techniques of flute playing” (Andonovska, 2020). Plainsong commemorates the
opening of a music centre (Aitken, 2009) and Icicle is a dedicated technical étude for young flautists
(Cook, 2016). Composing in honour of music education, Aitken reveals the personal value of flute
technique to a contemporary audience, where “extended techniques are becoming more and more
the norm” (Andonovska, 2020). Aitken’s works stand out because they show that familiar emotions
can be found in unfamiliar sounds. This conclusion is made through identifying and defining key
extended flute techniques and how they relate to contemporary expressions of emotion in music.

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 BIBLIOGRAPHY
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APPENDICES
Appendix A. Plainsong (1980), page 1

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Appendix A. Plainsong (1980), page 2

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Appendix A. Plainsong (1980), page 3

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Appendix A. Plainsong (1980), page 4

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Appendix A. Plainsong (1980), page 5

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Appendix A. Plainsong (1980), page 6

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Appendix B. Icicle (1978), page 1

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 Appendix B. Icicle (1978), page 2

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Appendix B. Icicle (1978), page 3

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Appendix C. Transcript from interview with Lina Andonovska
Note: the interviewee consented to having their responses recorded and used in this essay.

1. What are your thoughts on contemporary flute techniques; what’s the point?
The evolution of flute techniques is just responding to the evolution in society; they go hand in
hand. Composers are exploring new sounds, developing new languages for interpretation. Learning
the extended techniques would be just like learning how to ornament Quantz or Telemann back in
the 16th century – it’s essential to communicating the art being produced of the 21st century.

2. How do you feel about harmonic applications of modern flute?

I’m not certain I understand this question – perhaps not worded clearly. Do you mean using
harmonics? Or do you mean the flute using multiphonics, therefore being able to play chords?
Again, as the language of the instrument evolves through experimentation, so does a need for
performers to adapt their practice.

3. What parallels do you see between classical harmony and contemporary flute techniques?
Classical harmony and contemporary flute techniques are two very di erent things - perhaps again
the question here not entirely clear. If you mean using extended techniques in Mozart, well then I
think in certain contexts it works! Composer Kalevi Aho wrote some brilliant cadenzas to the two
Mozart concerti that we have in their repertoire, and the way that Patrick Gallois plays the Paganini
studies with all of the various extended techniques is phenomenal. Extended techniques should be
incorporated into everyday practice as they strengthen regular techniques of flute playing. For
example, I practice harmonics every single day – this develops my own sound and the colours I am
able to produce on a single note (for example when I am playing a slow movement of JS Bach).

4. What do you define as ‘contemporary’ technique and why?

I would use the term ‘extended’ technique instead – unconventional ways of playing the instrument.
However even that’s arguable as these extended techniques are becoming more and more the
norm. You should consider that extended techniques are used in a contemporary setting, but they
aren’t the same as ‘contemporary’ techniques.

5. What are your thoughts on Icicle and Plainsong in terms of application of technique and purpose?
I have never played Robert Aitken’s music, but I do believe he has made a significant contribution to
the solo flute repertoire. I listened to Icicle and Plainsong – clearly technical études with a focus on
developing imagery using extended technique. In Icicle, Robert Aitken’s use of extended techniques
is centred around the emotional value of an icicle – in Plainsong it would be plain emotion.

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