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The recorder enjoyed golden times in the Renaissance and Baroque. With the growth of the orchestra and the improvement of many of its instruments, it lost its place and its use declined. Although historical records point to a 150-year silence for the recorder until its reappearance in the 19th century, some authors claim that the recorder survived until the middle of the 19th century, in the Czakan, a kind of recorder initially placed on a cane, an instrument to which many pieces from the Romantic period were dedicated, and in the French Flageolet, a peculiar kind of recorder, which survived until the beginning of the 20th century. Nowadays, the recorder arouses the passions of many musicians and the curiosity of many others who venture into it, but not in a serious way, causing the instrument to be trivialised. The book 'The recorder today: the instrument and its expanded techniques' is a text that shows the recorder as a potentially solo instrument of high performance value, capable not only of starting a musician, but also of subsidising a musical career. This book aims to popularise the value and artistic potential of this instrument.
About the author
PhD student in Language Studies at the Federal University of Mato Grosso. Master in Contemporary Culture Studies (UFMT). Specialising in Libras (UNIASSELVI) and with a degree in Music (UFMT). Managing editor of the magazines Diálogos and Falange Miúda. Researcher in the criticism of musical genesis. Flute player and composer. Libras teacher at UFMT.
