The dissertation is devoted to the research of the history of French flute art at the end of the 18th – early 19th centuries. This definite period is marked by radical changes in the socio-political and economic system in France, which were caused by the revolutionary events in 1789 and had a decisive influence on the development of flute art. The Great French Revolution was not only the beginning of the ablation and overthrow of the absolute monarchy having contributed to establish a democratic state system, but it also has given impetus to the emergence of new fundamental principles necessary to form a progressive music education system. The central place in the professional training of musicians, and flutists in particular, was occupied by the Paris Conservatory, which has determined the content strategy of education, its artistic and didactic principles. Formation of flute classes at the Conservatory under the leadership of its first professors F. Devienne, A. Hugot and J.G. Wunderlich was a significant phase in the development of professional music education in France.
It is noted that this issue in the proposed perspective and the specified chronological framework remains insufficiently studied by national and foreign researchers.
The main tasks of scientific research were to determine the main periods in the development of French flute didactics in the late 18th – early 19th centuries and to analyze methodical treatises, “Schools…” and “Methods…” in the context of technological and artistic issues concerning the performing process. The study focuses on the role of socio-economic and political factors generated by the French Revolution, which have influenced the formation of the system that was to become the foundation for the professional training of music performers. The dissertation reveals in ample details the process of creation and development of flute classes at the Paris Conservatory in the late 18th – early 19th centuries and also determines the invaluable contribution of F. Devienne, A. Hugot, J.G. Wunderlich to the development of French flute art. To draw the conclusions, the author for the first time analyzed the flute manuals by F. Devienne, A. Hugot and J.G. Wunderlich revealing the compositional and performing features of individual flute opuses by F. Devienne and A. Hugot. The dissertation provides an in-depth and comprehensive analysis of historical and historiographical sources as well as documentary materials related to the object of work. Modern researches about this issue were also monitored, they have indicated the existence of some gaps and inaccuracies in the disclosure of historical stages concerning the development of French flute art in the late eighteenth – early nineteenth centuries. This fact requires a more detailed study.
The paper provides all-inclusive analysis of the development of French flute art in the eighteenth – early nineteenth century. Milestones of formation and development of French flute didactics during this time-segments, the basis of which were the manuals by J. Hotteterre, M. Corrette, A. Mahaut, Ch. De Lusse, A. Vanderhagen, F. Devienne, A. Hugot and J.G. Wunderlich are revealed in terms to demonstrate the gradual evolution of forms and content in the teaching methods. At the initial stage, the manual authors have focused on the basic issues of performance and fingering, supplemented by simple exercises for mastering the instrument by amateurs. In later editions (A. Vanderhagen, F. Devienne) there are noticeable structural changes and expansion of the content of theoretical and methodological as well as artistic and instructive material aimed at skilled performers. The culmination of the development of French flute didactics in the eighteenth and early nineteenth centuries was the publication of “Méthode de Flûte du Conservatoire” by A. Hugot and J.G. Wunderlich. It is considered to be the first official textbook at the Paris Conservatory, which was conceived created to train professional performers.
It is pointed out that the formation of professional music education system took place in a sequential process during which the transformation of primary music schools ended with the creation of the Paris Conservatory as the unique music education center in France. It has been proven that after obtaining state status and budget funding, together with the introduction of a democratic form of competitive selection of students and teachers, it was possible to guarantee equal access for talented youth in order to obtain the vocational education also this form has provided a high level of professional training.
Negative factors caused by the revolution are reported to have been adverse and noxious, among which there were the excessive politicization of the educational process at the conservatory and the use of its staff to promote revolutionary slogans and organize cultural events (street demonstrations, national holidays, festivals).
