Date of Award


Document Type


Degree Name

Doctor of Musical Arts (DMA)



First Advisor

Mark Ostoich


Since c.1860, the Paris Conservatoire has employed a succession of master artist/teachers of the silver Boehm flute. This tradition is so distinctive that the term "French Flute School" is used to refer to flute teachers and pupils of the Paris Conservatoire. Certain exponents of the French Flute School have written classic method books which have remained important to Boehm flute players throughout the world. The style and quality of flute literature changed significantly from the mid-nineteenth century to the present and when musical style changed so did demands on the performer. Although studies and exercises are not intended for public performance, instructional materials enable the performance of literature representative of the times. Changes in musical style and complexity can be found in the studies included in the various methods written by Altes (c. 1880), Taffanel and Gaubert (c. 1890-1910), Marcel Moyse (c. 1920-1935), and Trevor Wye (1981-1987). The changes in demands on the flute player from the second half of the nineteenth century to the present, and how these methods prepare flutists to meet those demands, will be discussed in this study. This monograph presents a comparison of flute methods available and demonstrates how those methods have been influenced by changes in style from mid-nineteenth century flute music through the conventional flute music of today. This study describes aspects of each author's approach to beginning studies, embouchure formation, daily exercises, and selected articulation studies. The method of comparison includes descriptions of the selected material. A presentation of the selected teaching methods, either in part or whole, and how they can be incorporated into a more comprehensive manner of teaching applied flute from elementary to professional levels, is included.