A Comparative Study on Core Performing Techniques and Aesthetics of Flute Based on Exchange Training Experience in Roz‐Music‐Academy, Poland

Abstract

With the increasing global exchange of instrumental music, the Boehm-system flute has developed differentiated training paradigms in pedagogical practices across regions. Drawing on a one-semester exchange study experience at the Academy of Music in Rzeszów, Poland, this research examines individual instrumental lessons, orchestra rehearsals, and local European advanced performance workshops, obtaining first-hand practical insights into Central-European flute pedagogy. Focusing on three core performing dimensions—breath control, tonguing techniques, and fingering-ornamentation handling—this paper compares domestic Chinese flute pedagogy, which absorbs the aesthetic concepts of Chinese bamboo-flute performance, with the classical-flute training system represented by Germany, Austria, and Poland. It further explores the cultural causes behind divergences in musical aesthetics, interpretative approaches, and stage practice. With performance examples from Mozart's Flute Concerto in G Major, Böhm's Grande Polonaise, and the bamboo-flute-transcribed piece Song of the Suzhou Gardens, this paper reflects on the respective strengths and limitations of the two pedagogical systems. Rooted in real-world undergraduate performance training in China and informed by the critical-thinking requirements for overseas graduate-degree applications in music performance, this research provides practical references for Chinese flute-major learners to adjust their practice schemes and offers empirical reflections for cross-cultural communication in flute performance from the perspective of on-site overseas training. The findings contribute to a deeper understanding of how cultural contexts shape instrumental pedagogy and performance aesthetics in contemporary flute education.