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dc.contributor.authorWalker, Sally Kathleen Annette
dc.date.accessioned2022-05-27T02:20:02Z
dc.date.available2022-05-27T02:20:02Z
dc.date.issued2021en_AU
dc.identifier.urihttps://hdl.handle.net/2123/28670
dc.description.abstractDecades after the initial intensive debate between advocates and critics of Historically Informed Performance Practice (HIP) following its inception, the modern and HIP arenas are now more musically interactive. There are players who perform professionally on both modern and historical instruments, for whom developing and maintaining a professional performance standard on both instrumental systems is a significant undertaking. This study has investigated: “What is the optimal process for professional modern flautists to learn historical flutes, without compromising their modern flute playing level?” The literature review revealed that the subject of an already professional modern flautist learning historical instruments has until now remained largely unresearched. It was hypothesised that the process of learning a second instrumental system, while maintaining the first, may bear comparisons with the process of learning a second language or dialect. Aiming to formalise an effective method for switching between modern and historical instruments, three methodologies were used for data collection: a study of historical treatises, an autoethnographic study documenting my personal process as a professional modern flautist learning historical flutes, and the interviewing of esteemed practitioners, including: performers who play both modern and historical instruments, music specialist medical practitioners and instrument makers. Data from interview transcripts was analysed using NVivo qualitative software and compared with the findings in the treatise and autoethnographic study. Conclusions demonstrated that evidence supported the hypothesis. In switching between two or more systems of fingering, neurological and physiological complexities were experienced, termed in this study as: finger freeze, fingering dyslexia, false friend, and false limb sensations, each of which had a linguistic parallel. Consequently, Second Language Acquisition (SLA) was considered as a learning model for assimilating multiple fingering systems. Concluding recommendations included physical and psychological practice methods to employ a “psychological reset” to trigger the recalibration in switching between modern and historical systems.en_AU
dc.language.isoenen_AU
dc.subjectSwitching between modern and historical flutesen_AU
dc.subjectpedagogical neurophysiological implicationsen_AU
dc.titleSwitching between Modern and Historical Flutes: Pedagogical and Neurophysiological Implicationsen_AU
dc.typeThesis
dc.type.thesisDoctor of Philosophyen_AU
dc.rights.otherThe author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.en_AU
usyd.facultySeS faculties schools::Sydney Conservatorium of Musicen_AU
usyd.degreeDoctor of Musical Arts D.M.A.en_AU
usyd.awardinginstThe University of Sydneyen_AU
usyd.advisorMaddox, Alan
usyd.include.pubNoen_AU


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