Date of Graduation

2017

Document Type

Dissertation

Degree Type

DMA

College

College of Creative Arts

Department

School of Music

Committee Chair

Lynn Hileman

Committee Co-Chair

Nina Assimakopoulos

Committee Member

Mary Ferer

Committee Member

Keith Jackson

Committee Member

Beth Royall

Abstract

The piccolo and the flute have the same origin and share similar historical developments; however, they require different approaches to attain high levels of proficiency. The flute benefits from a well-documented history of construction, a lineage of pedagogy, and a vast repertoire while the piccolo has not shared the same prestige. Initially utilized as military instrument and seen as an auxiliary instrument by many, the piccolo has become an integral part of the modern orchestra. Unfortunately, the piccolo did not receive the same pedagogical attention as the flute until more recently. With the limited availability of piccolo teachers and reliable method books, most players have had to learn to play the piccolo on their own. It is only in the last few decades that the piccolo has become a respected solo and chamber instrument prompting the development of method books and teachers specializing in the piccolo.;In the early 1970s, growth in the solo repertoire for the piccolo and the desire of performers to specialize on the instrument produced master piccolo teachers who are now publishing methods for the instrument. These specialists have been promoting the piccolo's prominence in the new millennium and inspiring the next generation of piccolo players to specialize. The purpose of this document is to provide both teachers and students with a reference that includes a broad understanding of the historical use and mechanical development of the piccolo as well as an annotated bibliography of piccolo articles and research.

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