• KovaM
22.03.2024 | 3:00pm | Senate Room | Reitoria da Universidade de Aveiro


Cristina Ioan's Doctoral Program in Music will be held in the Senate Room at the Reitoria da Universidade de Aveiro on March 22nd, 2024, at 15:00, with the theme "Giving Voice to the Flute: Exploring the Technique of Singing and Playing Through Compositional, Performative and Pedagogical Approaches".
The jury for the PhD Thesis for Cristina Ioan
  • Prof. Dr. Jorge Salgado Correia, Associate Professor at Universidade de Aveiro and researcher at INET-md (advisor)
  • Prof. Dr. João Paulo Davim, Full Professor at Universidade de Aveiro
  • Prof. Dr. Pedro José Peres Couto Soares, Coordinating Professor at the Instituto Politécnico de Lisboa
  • Prof. Dr. Sara Carvalho, Associate Professor at Universidade de Aveiro and researcher at INET-md
  • Prof. Dr. Monika Duarte Streitová, Assistant Professor at Universidade de Évoa
  • Prof. Dr. Camilla Hoitenga

Voicing the Flute: Exploring the Technique of Singing and Playing through Compositional, Performative and Pedagogical Approaches

My main goal for this research is to expand flute performance practice using voice and various elements of singing technique and, in this way, offer to both performers and composers a wider range of resources. These resources include but are not limited to, using singing to work on technical aspects (such as breath support, tuning, and tone development) and expressive aspects (such as timbre, musicality, and incorporating expressive ideas). However, it is important to acknowledge the interconnection and interdependence between each instrument's development of performance and compositional practice. Therefore, this thesis also focuses on exploring and developing the extended "singing and playing" technique in new flute repertoire. This exploration develops the polyphonic use of voice as an integral part of the flute's vocabulary. This is achieved through a close artistic collaboration between several composers who have taken up the challenge to explore voice more extensively in their new works for flute, and myself as a flutist. As a result of this exploratory work, a compendium of general guidelines for composers has been drawn up, analyzing the various approaches that have emerged throughout the new works presented here, and various exercises have been proposed that can support the work of polyphonic use of the voice. In addition, I also present several spectral analyses of the flute and voice that can help visualize the effects of overlapping flute and voice from an acoustic point of view which may give further insight into the effects using the "singing and playing" technique.
In my intention to expand and transform flute practice using voice, the results of this research are therefore touching on the three main areas of flute practice: performance practice, compositional practice, and pedagogical practice