Selections of the Required Repertoire and Instrutional Guidance of the Repeatedly Selected Pieces of Flute Solo at the National Student Music Contest（1991-2006）

• Main Authors: Shu-ting Chen, 陳淑婷
• Other Authors: Yuan-Mei Hsieh
• Format: Others
• Language: zh-TW
• Published: 2008
• Online Access: http://ndltd.ncl.edu.tw/handle/07114468358394181233

碩士 === 國立臺南大學 === 音樂學系碩士班 === 96 === The purposes of this research are to investigate the selections of the required repertoire and to find the instructional guidance of the repeatedly selected pieces of flute solo at the National Student Music Contest (NSMC) in Taiwan from 1991 to 2006. The required repertoire are total 75, and 13 pieces are repeatedly selected among them. The researcher applied statistical analysis to the frequency and percentage of the required repertoire according to music schools, composers, music genre, and chosen times. The grades of difficulty of the repertoire was annotated basing on the grade system of James Pellerite’ work《A Handbook of Literature for the Flute: A Compilation of Graded Method Materials, Solos, and Ensemble Music for the Flute》, and Flute world, an American flute score website. Besides, the researcher interviewed ten flute teachers in colleges to investigate the instructional guidance of the repeatedly selected pieces, and the opinions about the assignment of the required repertoire of flute solo at the NSMC. The following conclusions are reached in this study： 1. The selections of music school for the required repertoire distribute over a wide range over years, the required repertoire is partial to classical school before 2000 and to modern school after 2000. 2. Most composers of the required repertoire are maestros of the western music history, or the famous flutists. Only one Taiwanese composer’s was selected over years. 3. There are 13 pieces repeatedly selected as required repertoire over years. 4. The required repertoire covers varieties of genres, including sonata, concerto, fantasy, etude, rondo and piece. 5. Most interviewed flute teachers hold positive opinions about the assignment of the required repertoire. They also provide individual opinion on the times of the assignment, sources of music, popularity of music score, music genre, selection guideline, music schools, composers, grades of difficulties, and the editions of required repertoire. 6. According to the grading system of Pellerite and Flute World, the difficulty of required repertoire distribute in the range from “intermediate to advanced” , and most of the repertoire are in the range of “moderately difficult”. 7. According to the grade system of Pellerite and Flute World, the “moderately difficult” pieces are chosen most in the junior group, senior group, and college group. 8. For junior and college groups, the difficulty range of required repertoire falls into “intermediate to advanced” inside both Pellerite and Flute World grade system. There is no obvious difference for the range between the two grade systems. For senior group, however, the difficulty range “intermediate to advanced” in Pellerite grade system is slightly more difficult than the range “moderate to moderately difficult” in Flute World grade system. 9. The interviewed college flute teachers have very different opinions on the appropriateness of the required repertoire in different groups. 10. The interviewed teachers all emphasize the basic skills in flute performance of the repeatedly selected works. 11. The interviewed teachers all emphasize the guidance of the music style and expression in the required repertoire and their comprehension of the pieces are pretty similar. However, they have different approaches in teaching process, explaining the background of pieces, and annotating music symbol on scores. 12. The interviewed teachers all emphasize the accompaniment of the require repertoire, but they have different requirement and guiding level for the performance of accompaniment. Based on results obtained in this study, the researcher offers the following suggestions： 1. The NSMC should establish different standards of the required repertoire for reference, and establish a database for the required repertoire. 2. Since only one Taiwanese composition was assigned through these years. It’s recommended to choose more Taiwanese compositions as the required repertoire. 3. The sponsors of NSMC should not only hand on the contest but also refer to the other competitions held at different countries. 4. The data of NSMC should be well managed and maintained as treasurable footprint. 5. In order to provide the guidance to the teachers and students, future research can focus on the comparisons of the require repertoire among different groups of NSMC in depth and on the interpretation and instructional discussion of the require repertoire. 6. Future research can investigate and analyze the required repertoire of other instruments at the NSMC.