In Memoriam

by

Valerie Estes

AN HONORS THESIS

for the

UNIVERSITY HONORS COLLEGE

Submitted to the University Honors College at Texas Tech University in partial fulfilbnent of the requirement for the degree designation of

HIGHEST HONORS

MAY 2009

Approved by: £^J, ^7 Lisa'iGam^ Santa '~ Associate Professor of School of Music

V /^o^ ^ DR. GA^ M. BELL Date Dean, University Honors College

The author approves the photocopying of this document for educational purposes. ABSTRACT

This Honors Thesis proposes the addition of a recording project to standard nation-wide

Music Performance undergraduate and graduate curriculum. It begins with an explanation of some deficiencies in collegiate music performance education, namely lack of applied teaching skills and inexperience with recording and editing processes. Such an example follows, including historical and musical context of six elegiac works for flute, practical instruction on playing those works, and recordings of my own performances of these compositions. The pieces performed and discussed are Ken Medema's Rachel's Song, 's for Flute and , Torn Takemitsu's Itinerant, Dan Welcher's All the Words to All the Songs, Philippe

Gauberl's Sonata no. 1 in A Major for Flute and Piano, and 's Duo for Flute and

Piano.

11 ACKNOWLEDGEMENTS

Firstly, 1 would like to thank my family for their support during this project and throughout my musical career. They are my first and best audience.

1 would also like to thank Dr. Maijean Purinton and Dr. Richard Verrone, without whose tireless assistance and encouragement this project would not have existed.

Finally, 1 would like to express my gratitude to my flute teacher. Dr. Lisa Gamer Santa.

She taught me everything 1 know about music and then taught me to create it.

HI TABLE OF CONTENTS

ABSTRACT ii

ACKNOWLEDGEMENTS iii

LIST OF FIGURES v

TRACK LISTING vi

INTRODUCTION 1

CHAPTER 1: Background of Elegiac Music 7

CHAPTER 2: Rachel's Song 11

CHAPTER 3: Francis Poulenc's 14

CHAPTER 4:/r/«era«r 23

CHAPTER 5: All the Words to All the Songs 28

CHAPTER 6: Philippe Gauberl's Sonata No. 1 in A for Flute and Piano 33

CHAPTER 7: Aaron Copland's Duo for Flute and Piano 36

CONCLUSION 41

BIBLIOGRAPHY 43

IV COMPACT DISC CONTENT

X.Rachel's Song (2003) Ken Medema (b. 1943) Melissa Rooklidge, soprano Annie Nichols, alto Daim Coakwell, Taylor Johnson, bass Valerie Estes, flute Gabriel Sanchez, piano

Sonata for Flute and Piano (1957) Frances Poulenc (1899-1963) 2. Allegretto malincolico 3. Cantilena 4. Presto giocoso

5./riwerawr for solo flute (1989) Tom Takemilsu (1930-96)

6. All the Words to All the Songs (1996) Dan Welcher (b. 1948)

Sonata No. 1 in A for Flute and Piano (1917) Philppe Gaubert (1879-1941) 7. Modere 8. Lent 9. Allegro moderato Duo for Flute and Piano (1971) Aaron Copland (1900-90) 10. Flowing 11. Poetic, somewhat mournful; Lively, with bounce

Valerie Estes, flute Gabriel Sanchez, piano LIST OF FIGURES

Figure 1: Epitaph of Seikilos 7

Figure 2: Ken Medema 11

Figure 3: Rachel Evatt 12

Figure 4: Francis Poulenc 14

Figure 5: Elizabeth Sprague Coolidge 15

Figure 6: Jean-Pierre Rampal 16

Figure 7: Measure 1 17

Figure 8: Measure 28 17

Figure 9: Measures 45-8 18

Figure 10: Measures 52-4 19

Figure 11: Measure 34 20

Figure 12: Practice Rhythm 1 20

Figure 13: Practice Rhythm 2 21

Figure 14: Practice Rhythm 3 21

Figure 15: Practice Rhythm 4 21

Figure 16: TomTakemitsu 23

Figure 17: IsamuNoguchi 24

Figure 18: Multiphonics 26

Figure 19: Trill Notation 26

Figure 20: Final Bar 27

Figure 21: Dan Welcher 28

VI Figure 22: Philippe Gaubert 31

Figure 23: 31

Figure 24: Square 4 35

Figure 25: Aaron Copland 36

Figure 26: William Kincaid 37

Figure 27: Harmonic C Fingering 38

Figure 28: High B-Flat Fingering 39

Figure 29: Measure 143 40

Vll INRODUCTION

The purpose of this Honors Thesis is to address what I believe is a deficiency in today's collegiate musical performance curriculum and to provide an example of a project combining a

self-produced recording with written instmction in the approach to a set of musical repertoire.

This type of project, if used to supplement existing undergraduate and graduate coursework,

would allow students develop skills that are requisite to their careers as successful, versatile

performers.

Students earning an undergraduate degree in instrumental performance are generally

required to perform two solo recitals and performance exams called 'juries' at the end of each

semester. These performance experiences are certainly useful, but do not require the student to

utilize technology or to leam music technology skills. I believe this is a great oversight, since we

live in an age in which technology mles a large part of the entertainment industry. The general

public gains most of its classical musical exposure through CD's rather than live performances.

Consequently, many performers supplement their careers, if not base them, on recording albums.

For this reason, I believe that it is important for musicians to have experience in a recording

capacity during their undergraduate and graduate degrees. However, music technology is not

always a subject that is placed in high importance in most collegiate curriculums.

Versatility is a quality much valued in the field of professional music, and as such, it is

advisable to expose young musicians to as many performance mediums as possible. Students are

often encouraged to be mvolved in solo performances, chamber ensembles, and larger

ensembles, but rarely is a student expected to undertake recording projects. Although recordings

are at times required for submission to competitions or auditions, the repertoire is usually set and editing is prohibited. These restrictions do not allow the musician to develop the skills needed

for choosing repertoire for a CD or operating editing software.

Recording in a studio differs from live performances in many ways. Live performances

are arranged so that the performer is allowed time to rest between works, which are only played

once. Recording sessions hold the possibility of being quite lengthy and require endurance, since

one piece may be played several times through. Recording sessions also require more realistic

self-criticism than a live performance, because the editing process that follows can be done

efficientiy and to the performer's satisfaction. The production of a CD also requires some

knowledge of logistical production and marketability that are not usually required for live

performances. Professional record labels provide services that would assist with such elements,

but it is costly to initiate an agreement with a label. For this reason, many performers choose to

self-produce eJbums. Self-producing an albums can save thousands of dollars, but requires

ingenuity and practicality. Some tasks to be completed when self-producing include the writing

program notes, creation of cover art, and negotiation endless particulars in regard to sale of the

finished product.

The first step in the process of producing my own album was to choose the repertoire that

I would include on the disc. That alone took a good deal of thought and consideration. I wanted

the project to have a unifying theme, so I first made a list of broad possible topics. After

choosing one, I made a list of possible pieces that would fit the theme. I had to consider

audience accessibility, my own playing ability, the difficulty of the piano accompaniment where

it existed, appropriate timing of the entire disc, varying time periods from which to draw the

pieces, and my personal preference. One great advantage in my favor was that some of the

pieces I chose served dual purposes. I performed Aaron Copland's Duo for flute and piano for a competition and used my recording of Frances Poulenc's Sonata for flute and piano as a part of my application to masters programs. I also programmed Philippe Gaubert's Sonata in A Major and Tom Takemitsu's Itinerant on my senior recital. Once I decided which pieces I would play,

I had to consider whom I would employ as my accompanist. I had to find a pianist who had the technical, musical, and collaborative ability to play the music I had chosen. I decided to employ

Gabriel Sanchez, who is a resident of Dallas, Texas, to play with me because of his knowledge of

, his amazing technical aptitude, and his musical sensitivity. All of this planning

was done before I even began to prepare the music, arrange rehearsal times, and schedule a

recording session with my chosen recording studio.

The recording session itself was a new experience for me. I chose to employ my

university's recording studio and technician to supervise and edit my recording. As a student,

this was less expensive and more convenient for me than employing a private studio off campus,

which would cost on averjige over $55 per hour instead of the $10 per hour that I was charged.

My chosen pianist lives about 300 miles away, so scheduling rehearsal and recording time with

him, as well as reserving the recording studio and someone to supervise recording took some

juggling of schedules. Contrary to most of my performance experiences, which have definite

dates and times scheduled far in advance, my practice schedule and goals now had to be adjusted

to fit the availability of my pianist. For this reason, I was forced to record my music in two

installments to facilitate my own preparation and limited rehearsal time with pianist and in the

recording studio.

Since editing was an option for this project, I was able to approach my performance in a

way that did not demand immediate perfection. I played each piece all the way through, then

returned to portions of the music that I knew were not satisfactory because of imperfections in timing, volume, tone quality, or various other reasons. The microphones recorded the entire session without pause since it would have been impractical to stop the recording in order to translate the digital sound files onto a CD, listen to my playing, and then return to recording cuts of the music. This would have wasted the time of my accompanist and the recording technician.

Instead, I relied on accurate self-evaluation assess the flaws in my performance without being able to listen back to what I had done. When returning to excerpts from pieces, my pianist and I required the ensemble and musical skills to begin at a place in the middle of a piece. The excerpts needed to be similar in volume and tempo to the larger, original cut of music, so the overall product would not sound disjunct or abmpt. During the first recording session, I recorded the works that were most challenging to play: Copland's Duo and Poulenc's Sonata

The editing itself was a very long and detail-oriented procedure. The total recording time was about eight hours, whereas the editing took jihnost 15 hours. The first step in the editing process was to listen to the entire session, which the recording technician had burned onto a CD.

While listening, I made notes of the parts of music that I wanted to replace, designating the track number and exact timing of the errors. I then made another appomtment with my recording technician to edit the music. He used a computer program called Pro Tools to piece together sections of music as I gave him instmctions from my notes. This software has the capabilities to take two cuts of music and blend them together smoothly, and adjust the reverberation of the sound, among many other ways to manipulate the music. After several hours of watching the process and familiarizing myself with the software, I was able to navigate the program comfortably on my own.

I had access to the Pro Tools software and a high-quality microphone in my flute teacher's studio, so I decided to record and edit the second portion of my disc myself in order to save time, money, and also to gain a more direct experience in the editing process. Carrying out my own editing allowed me to gain an intimate knowledge of the Pro Tools software, and I become proficient in my ability to maneuver the program and manipulate my own recording.

Operating the software myself actually saved time, since I performed tasks immediately without

having to first communicate my instmctions to someone else. Overall, I feel that self-editing,

while not necessary, provided me with skills that I will be able to use in future recording

sessions, including applications for my Doctorate of Musical Arts and various competitions and

auditions.

I also believe that the writing of the second part of this project, the practice guides,

required me to develop skills which will prove useful to me in my musical career, and will be

informative my musical readers. The written portion of this undertaking is a set of instmctions

that are essentially 'how-to' essays. For each composition included on the accompanying disc to

this thesis, I wrote a detailed instmctional article that provides tips and useful information for a

flutist who might choose to study that work. In these guides, I provided information about the

composer, the work's subject, the commissioner of that work, the historical background of the

piece, and any other useful information that I thought might unpact a musician's interpretation of

the given work. I then went on to address specific difficulties presented in each work, giving

suggestions regarding phrasing, tone production, technical execution, and other facets of musical

interpretation. Offering these suggestions challenged me in a way that my personal study of

these compositions did not. Here, I had to address difficulties that other flutists may face which I

did not and, in some cases, offer multiple solutions to those problems. I also had to develop my

teaching skills by communicating these solutions verbally, which proved to be more difficult

than implementing these solutions into my own playing. Most, if not all, musicians are prompted to teach music at some point in their careers, even if they are not primarily educators. However,

students majoring in Music Performance, such as myself, are not required to teach or take any

education classes for the completion of their degrees. The assigning of written practice guides,

such as those that appear in this project, would aid in filling what I perceive as a gap in American

collegiate musical education. CHAPTER 1: BACKGROUND OF ELEGIAC MUSIC

Composers have been writing music in dedication to those who have died for at least two thousand years. Music has held special meanings spiritually as well as personally for many cultures across time, and it was in many instances instrumental in the burial and grieving processes. Music for these purposes conveys messages of grief and remembrance, as well as celebration and hope. Shown in Figure 1 is the Epitaph of Seikilos, a Delphic hymn that was possibly written for Seikilos' wife, is the oldest complete composition we have today. It is inscribed on a tombstone that was found near Ephesus and is estimated to be about 2,000 years old.

Fig 1. Epitaph of Seikilos

Engraved on the tombstone is a brief song accompanied by musical notation. The music is accompanied by the following transliterated text: While you live, shine

Don't suffer anything at all;

Life exists only a short while

And time demands its toll.

The stone is also inscribed with these words, "I am a tombstone, an icon. Seikilos placed me here as an everlasting sign of deathless remembrance."' As demonstrated by this ancient tombstone, music is an effective medium through which to memorialize and honor a person.

Music is unique in its capacity for participation as a performer or as a listener, and because of its

permanence, in the case of notated music.

We also have many literary sources that confirm that music played a large role in death

rites and burial ceremonies in the ancient world. Philetaems, who lived during the 4 century

BC, explained the ancient Greek myth of the afterUfe in his writings. It was believed that there

were two divisions of the underworld, one in which deserving souls were permitted to "revel in

love affairs," and the other, in which the condemned spent eternity carrying water to fill a leaky

jar. However, a person's chances of spending eternity in the heavenly part of the underworld

were improved if the soul was found to be a lover of good music. In order to help send a friend

to the more pleasant underworld, musicians would play the aulos, a simple reed instrument, as

the person lay on his or her deathbed.^ In this culture, music served not only to convey

mourning, but also to secure the loved one's eternity.

The early church also incorporated music into mourning services. The Gregorian

mass was an entire subgenre of music that w£is played during funeral services as early as

the fifth century. It began as a liturgical celebration of life and death that used biblical texts and

' Egon Wellesz ed. Ancient and Oriental Music: Volume I. (New York: Oxford University Press, 1999), 369 ^ David Whitwell. "Funeral Music in the Ancient World, Essay Nr. 59." Essays on the Origins of Western Music. 2009.

8 over time the genre grew in intricacy and size, in some instances outgrowing their venue. These

compositions began to move into the concert hall during the Romantic era, serving a more

entertainment-oriented purpose. During the early twentieth century, the requiem settings

departed from their original even more by using texts outside of the traditional

Latin poetry.^

In the fifteenth century, a custom arose of composing laments in memory of recently

deceased musicians. In these works, the remembered musician was named and the Requiem

Mass was quoted.'* In the next century, madrigalists took up the custom of writing elegiac works

for friends and musicians in the form of secular songs, which were sung by small groups of well-

trained amateur vocalists.^ The tradition has continued and evolved into the memorial

compositions that we see today.

Many contemporary works of varying instrumentation have been dedicated to, or written

about people who have died, both personal acquaintances and influential figures. Music is a

suitable medium to be used as a memorial because of its capacity to relate emotions and

character, while still allowdng the performer to take artistic license to vary its interpretation. It is

a way to honor those who have died, mourn their passing, celebrate their lives on earth, and offer

a lasting tribute to their memories. Oftentimes, the composer knows the person to whom his or

her work is dedicated, as is the case with several of the works included in this project. In these

cases, the composer usually incorporates some programaticism that alludes to the person's life or

beliefs. It is not unusual, however, for composers to accept a commission to compose a work in

somebody's memory. Three such works are included in this project. The lack of direct

^ Robert Chase. Introduction to Memento Mori. (Lanham, Maryland: The Scarecrow Press, Inc., 2007), xiii. "• Alec Robertson. Requiem: Music of Mourning and Consolation. (New York: Frederick A. Praeger, Publishers, 1968), 213. ' Alec Robertson. Requiem: Music of Mourning and Consolation. (New York: Frederick A. Praeger, Publishers, 1968), 214. connection between the composer and his or her subject does not necessarily take away from the emotional potency of these works. Composers still incorporate elements of the subject's life as communicated by the commissioner of the work. The following practice guides and the correlating CD to this thesis focus on prominent 20*-century elegiac works for flute. The included works are as follows: Rachel's Song by Ken Medema, Sonata for Flute and Piano by

Francis Poulenc, Itinerant by Tom Takemitsu, Sonata in A Major by Philippe Gaubert, All the

Words to All the Songs by Dan Welcher, and Duo for Flute and Piano by Aaron Copland. I chose each work with care, purposefiilly selecting works that adhered to the elegiac content and provided a broad range of musical, compositional, and historical styles.

10 CHAPTER 2: RACHEL'S SONG

Fig 2. Ken Medema

The first piece on this disc is Rachel's Song, by Ken Medema (b. 1943). Medema is an

American composer and pianist who writes principally for voice and piano. He has been almost blind from birth, a disability that he claims has given him the ability to feel empathy and compassion. He earned his degree in music therapy from Michigan State University. After that, he held two posts as a music therapist, one at Fort Wayne, Indiana, and another at the Essex

County Hospital in New Jersey. In 1973, he began performing his own compositions. He founded his own publishing and recording company called Brier Patch Music in 1985. He now lives in San Francisco, where he writes primarily Christian music and performs for church congregations and charity events worldwide.

This particular work holds great sentimental value to me because it was commissioned by the Greenwood High School Band in memory of my friend, Rachel Evatt

^ Ted Parks. "Songs on the Spot: Christian Singer Ken Medema." The Baptist Standard. April 23,2001.

11 Fig 3. Rachel Evatt

This composition was premiered in 2003 by members of the band, including myself.

Most of the Greenwood community was in attendance, including Rachel's parents. The work is scored for flute, piano, and four-part choir. There is some significance in the instrumentation.

Rachel played the flute from the sixth grade up until her death in her jimior year of high school.

This is the reason Medema included the flute part, which I played at its premiere and also on this

CD. The lyrics in the vocal parts quote a passage from Rachel's journal. The dedication in the score reads:

Rachel Evatt, a student at Greenwood High School in Midland, Texas, was killed in an

automobile accident in December of 2003. She was a flute player in the band and an

active member of Kelview Heights Baptist Church. She left behind a journal filled v^th

spiritual insights, prayers, dreams, and daily struggles. She wrote, "I am a lost sheep

found by grace, led by mercy, loved by God."

Rachel's Song is dedicated to her memory

--(jreenwood High School Band

12 This quote from her journal demonstrates her deep comprehension of Christ's teachings and her profoimd faith in God. It was read at her funeral and gave comfort to many of her mourners.

Although the composer never met Rachel, he captured two of the most important elements of her life—^her faith in God and her love of music. This composition is unpublished and unavailable for sale, and it is unlikely to be performed by any of the readers of this thesis. For this reason, I do not provide a performance guide for Rachel's Song as I have the other works studied here.

13 TEXAS TECH LIBRARY CHAPTER 3: FRANCIS POULENC'S FLUTE SONATA

Fig 4. Francis Poulenc

The next piece on this CD is Francis Poulenc's Sonata for Flute and Piano. Poulenc was a Parisian pianist and composer who lived from 1899-1963. In that time, he played an essential role in the school of musicians pursuing 's philosophy of "a new French art," which was characterized by clarity of phrasing and accessibility. Although Poulenc composed primarily for voice and piano, he also completed a cycle of wind , each of which is now standard repertoire for its instrument. Poulenc's compositional background clearly influenced his instrumental sonatas. Each sonata exhibits long, clear phrases that are archetypal of vocal music.

14 Fig 6. Jean-Pierre Rampal

Poulenc also unofficially dedicated the flute sonata to the well-known flutist Jean-Pierre

Rampal. * In his autobiography, Rampal recorded a conversation he had with Poulenc about the

Sonata: "Jean-Pierre," said Poulenc: "you know you've always wanted me to write a sonata for flute and piano? Well, I'm going to. And the best thing is that the Americans vrill pay for it! I've been commissioned by the Coolidge Foundation to write a chamber piece in memory of

Elizabeth Coolidge. I never knew her, so I think the piece is yours" (Lebrecht, 264).

The sonata was unofficially premiered at the Strasbourg Festival in 1957 and was broadcast on BBC in January of 1958. The American premiere was held on Valentine's Day of

1958 in the Coolidge Auditorium at tiie Library of Congress. Each performance was reported to be a great success, particularly the second movement Cantilena, which was described by critics as "a great rainbow of melody" and "the best of Poulenc and even a littie better" (Lebrecht, 264).

The work has maintained popularity and continues to be a standard in flute literature today.

* Chris Lebrecht. The Companion to 2(f''-Century Music. (Cambridge Massachusetts: Da Capo Press, 1996), 264. ' Henri Hell, translated by Edward Lockswpeiser. Francis Poulenc. (London: John Calder, 1959), 86.

16 Practice Guide to the Sonata for Flute and Piano by Francis Poulenc

Poulenc's Sonata for Flute and Piano is a substantial work with fluid, lyrical lines and a

lively mood. The most difficult part of performing the first movement. Allegro malinconico, is

the capturing of the spirit. It should be animated, but still gentie. This movement is easily

characterized and recognized by one of its repeating motives, shown in Figure 7. I

Fig 7. Measure 1

The character of each appearance of the figure should correspond to the dynamic of the

passage, as well as its placement in the movement For instance, I prefer to begin this movement

softly, gently, and almost hesitantly by lengthening the first note and falling through the

followdng three sixteenth notes into the downbeat. Contrastingly, measure 52 can be played

more boldly, since it is markedyor/e. A large part of the interpretation of this figure is dependent

on which edition is being used and each editor's preferred dynamic indications. Regardless of

which edition is edition used, when the passage is marked p/ano, it should be played with

finesse, and when the passage is markedybrre, it should be bolder and exactly in time. The

phrasing of most of the movement should be grouped in four-bar units. Measures 28-31 present

a problematic figure, which is shown in Figure 8.

Fig 8. Measure 28

The skip from the E to the C is difficult to play quickly without cracking. Some flutists add the

second trill key to the E in order to aid the note's immediate response. However, this fingering

17 raises the pitch considerably, and the flutist will then have to compensate for the sharpness of the

E while trying to keep the C in tune as well. Therefore, it is more desirable to execute this gesture by keeping an open, relaxed embouchure and playing the figure with the normal fingering. With slow and persistent practice, the skip will become easier.

Figure 9 shows a passage from measures 45-8 which also presents some difficulty.

l> k p^tMa^ \,h^t^}t^t

r''^"^'iriiiirfp Fig 9. Measures 45-8

These measures should be smoothly double-tongued, while still rem£iining/7ia«o. This section should be practiced first slurred. Slurring the large interval leaps will train the performer to rely on a constant airstream rather than the articulation to produce the notes. It would also be advisable for the flutist to practice this passage flutter-tongued and also while singing a stationary note, such as B-flat Applying these extended techniques to this passage will address another common problem that complicates this passage, namely, lack of sufficient airflow. After using these practice tools, play the section as written. The performer should articulate with 'D' and 'G' consonants, rather than'T' and 'K.' Doing so vsdll cause the tongue to touch the roof of the mouth rather than at the back of the teeth and will keep the articulation from becoming too sharp or labored.

Figure 10 shows a sub-phrase that appears in measures 52 and 98. These measures can be problematic because of the wide leaps. Here the right-hand pmky can press down both the E- flat key and the C-sharp key for the duration of the slur. This fingering Mdll increase the

18 resistance of the A, preventing a crack in the sound, and still allow the flutist to play with an airflow that is strong enough to play the E and C clearly.

Fig 10. Measures 52-4

At measure 73, the Unpen plus vite, the dotted-eighth note rhythm should be played clearly and accurately, so that the mood of this section is stately and elegant. It is especially important to dignify this passage, since it reappears with a different character at the melancolique section in the third movement

The ending of this movement, beginning at measure 129, should be played with a dark, rich tone rather than a light, airy one. The player may wish to use a more downward-directed airstream and a wider vibrato. In measure 130, the second trill key can be added to the high E, to assist the response of the note while playing/7p/?. The player should keep in mind that the piano is in unison with the flute on the sixteenth notes at the ceder in the last two bars, so visual communication with the pianist is essential. This figure should be immediately slower and more deliberate, in order to facilitate cooperation with the accompanist.

Movement II, Cantilena, should be played very sweetly and gracefully. The opening line is an echo of the melody, played in canon with the piano. Therefore, the first two measures should be played softly and nonvibrato. The tone color can then become warmer in measure 3, with added vibrato and a slightly louder dynamic. Individual interpretation should guide any change in tone color and dynamic. At measure 26, the performer should play as lightly as possible, holding the slurs full value without clipping the note endings. Here the piano part creates a bolder mood, so it is not necessary to play this passage abmptly or over-aggressively.

19 Similarly, the grace notes at measure 41 should be played in strict time, without accent and mshing. For the final F-sharp, the right hand pinky may be utilized to depress the C-sharp key.

This fingering will allow the player to use a softer dynamic and will facilitate a graceful

decrescendo.

Movement III, Presto giocoso, is very brightly scored, so it is important to keep a dark,

full tone, without allowing the high figures to become strident. Using vibrato on the isolated

eighth notes, such as in measure 1, will help attain this color. The first section of this movement

presents some runs that may be difficult to play with evenness and clarity. Figure 11 shows

measure 34, which is particularly problematic.

f'fFFfffPi'F

Fig 11. Measure 34

Runs like this one, including measures 9,11,19 and 26, should be practiced slowly and

with varying articulation, tonguing each note, then slurring groups of two notes, etc. These

practice techniques will help to promote evenness in the technique. Also useful to employ are

practice rhythms in which the performer first lengthens adds a full-valued beat to the first

sixteenth note of each beat, playing the rest of the notes as written. See Figure 12, which uses 34

as an example.

g gtetlff* tO»fP

Fig 12. Practice Rhythm 1

20 This process should be repeated, moving the extra beat to the second sixteenth note of each measure, then the third note, and so on, as seen in Figures 13,14, and 15. The use of these patterns will train the muscle memory to control the speed of each individual note. This exercise can be applied to any difficult passage in this movement, as well as in other technically challenging repertoire.

Fig 13. Practice Rhythm 2

te«p->. p itfteg->-ir>

•^

Fig 14. Practice Rhythm 3

£%tte ek

Fig 15. Practice Rhythm 4

These practice rhythms should be used beginning slowly, then increasing tempo. The

passages should then be practiced from slow to fast, as written. Since slurred scalar runs, like the

ones in measures 11, 26, and 34 will most likely tend to msh, the performer should take care to

lengthen the first note of each four-measure group, in order to stay grounded to the pulse and

meter. The staccato notes in this movement should be played with plenty of space surrounding

them, but without sounding harsh or clipped.

21 The melancolique section restates the melody from circle 8 of the first movement. It should be played here with a somber mood, using slow vibrato and a dark tone color, unlike the first statement of this melody, which should be dignified and noble. The flutist must be sure to keep the tempo steady at measure 227, since surtout sans ralentir translates to 'above all without slowing.' The end should retain its tempo and bold spirit. The final C-sharp must be played with impeccable intonation, adding all the fingers on the right hand if necessary to combat the note's tendency to be sharp.

22 CHAPTER 4: ITINERANT

Fig 16. Tom Takemitsu

Tom Takemitsu (1930-1996) was a Japanese composer known for his manipulation of instrumental timbre and his wide range of influences, which ranged from traditional Japanese music to composers such as Debussy, Messiaen, among others. He held positions at Yale

University and the University of California at San Diego. His compositions are well known and are played worldwide. He also expressed himself through many writings and interviews. His verbal compositions include books and essays about many subjects, including music and his inspiration for his compositions, Uterature, other artforms, and philosophy. As he wrote in book titied Ongaku o Yobisamasu Mono (Awakening of Music), "Things that have established me as a composer are, tiiough those [theory books] do have a little to do with it, things like a book I read, a friend I got to know, or a picture."'" In the case of Takemitsu's solo flute piece Itinerant, his inspiration came from friend and colleague, the sculptor Isamu Noguchi.

10 Noriko Ohtake. Introduction to Toru Takemitsu. (Hants, England: Scolar Press, 1993), xviii.

23 Fig 17. IsamuNoguchi

Takemitsu's Itinerant, was composed to mourn the death of his friend Noguchi (1904-

1988). Buckminster Fuller, a well-known 20* century architect and inventor, described Noguchi as the "intuitive precursor of the ... one-town world man" (Siddons, 62). Noguchi traveled much throughout his life, embracing his Japanese and his Irish-American heritage and creating avant-garde works of art that ranged from furniture to sculptures to architectural designs. The title Itinerant and the free style of this piece were inspired by the artist's continuously changing lifestyle. The work is written for solo flute and is not limited or confined by either a time signature or a tonal center. It incorporates extended techniques and an iimovative and free style that is a tribute to Noguchi's unique personality. Itinerant was premiered in 1989 at the Isamu

Noguchi Garden Museum, Long Island City, New York. The piece was commissioned by the flutist Paula Robison, but it is dedicated to the memory of Noguchi."

" James Siddons. Toru Takemitsu: A Bio-Bibliography. (Santa Barbara, California: Greenwood Publishing Group, 2001), 62.

24 Practice Guide to Itinerant by Toru Takemitsu

This work differs drastically from pieces of standard flute repertoire. The player should therefore approach Itinerant with patience. The flutist should leam one phrase at a time and listen to multiple recordings in order to form opinions about the degree of flexibility he or she will chose to employ. Takemitsu gives a key of his shorthand notation at the beginning of the score. This instmction should be observed before approaching the music itself, as his notation for fermatas and his fingering system differs from standardized notation. The notated rhythm is very specific, but the performer may take a great deal of license with tempo if he or she wishes.

I suggest approaching the rubato as one would a written cadenza. Liberties may be taken, but the relationship of note values should be generally maintained. The flutist may to prefer learning this work in straight time, then adding the preferred degree oirubato. Personally, I like to take a good deal of time for the rests between phrases.

In some places, Takemitsu writes H.T. for "hollow tone." One way the player can create this tone is by widening the embouchure and bringing the teeth very close together, spreading the air to create a light tone with additional air noise. The trills on the first line are timbral trills, meaning that the timbre, or sound quality, of the note will be altered and the pitch of the note will only changed minimally. The harmonic on the second line can be played by overblovmig a low C (C4) to the second partial. The portamentos in this work should be played by bending the pitch without changing fingerings. The performer may wish to begin the note slightly sharp to allow for a more dramatic change in pitch. To bend pitches lower, the player should v^den the aperture, slow the air, and roll the flute in simultaneously. The fingering given for the E on the last line of the first page is incorrect; the fingering calls for the first trill key to be depressed, but the second trill key v^U facilitate the portamento more. The correct notation should show a 6

25 instead of a 5, according to Takemitsu's provided fingering system diagram. For a strong accent on low notes, such as the last note on the first page, the third finger on the left hand may be

'slapped' with moderate force in time with the articulation (although certainly not with enough force to cause damage to the instrument). This will assist the response of notes in the lower register.

The multiphonics found on page two are essentially explosive harmonics to be played on the designated fingering. The flutist may find these easier to produce if the embouchure is widened and the flute is turned slightly outward. The effect is more important than actually attaining all the written notes, shown in Figure 18.

Die-

Fig 18. Multiphonics

At the bottom of page two, the A note head in parentheses is the note to be trilled to. The

"L.H. 3" that Takemitsu writes means that the performer should trill the left hand's third finger while playing each of the fundamental notes. See Figure 19.

Fig 19. Trill Notation

26 The V over the middle B on the last line of the last page (shown in Figure 20) may be interpreted as an accented release.

Fig 20. Final Bar

To attain the proper effect, I increase the volume of air, widening the embouchure, and pushing

the flute out and away from my face. When done quickly and simultaneously, these tools will

create an abmpt, accented effect without changing the pitch or overblowing the B to the next

partial.

27 CHAPTER 6: ALL THE WORDS TO ALL THE SONGS

Fig 21. Dan Welcher

Dan Welcher is a composer, bassoonist, and pianist who was bom in New York in 1948.

He holds degrees from Eastman and Manhattan and has held positions with the Louisville

Orchestra, the University of Louisville, the Aspen Music Festival, and Honolulu Symphony. He is currently Professor of Composition and directs the New Music Ensemble at the University of

Texas. He has composed award-winning works for orchestra, chorus, and wind ensemble.

His work All the Words to All the Songs for flute and piano was written in 1996 in memory of Vinson Hammond, by commission of flutist Nancy Andrew. Vinson Hammond was a well-known pianist and accompanist who died of complications from AIDS in 1992. The title quotes a remark that Hammond made while on the NBC "Today" show when he appeared on the show with flutist . Host Gene Shalit asked Hammond if he knew the words to the

John Denver song they were about to play. Hammond replied, that he knew "all the words to all the songs" (Santa). This piece quotes the melody from "I Can't Help Falling in Love With

You," by Elvis Presley, of whom Hammond was a great fan. Welcher views this work as "a reflection on the untimely loss of a young talent and an homage to popular songs...It's best to

28 hear the piece as a spiritual benediction. My hope is that Vinson Hammond has, by now, met his idol in Heaven-and hopeflilly, has accompanied him in a few of the good old songs" (Santa). All the Words to All the Songs was premiered by Nancy Andrew with Clinton Adams at the piano at the National Flute Association Convention in 1996.'^

Practice Guide to All the Words to All the Songs by Dan Welcher

The opening of the Welcher, as indicated by the lack of meter and barlines, should be played freely and almost whimsically. The player should note that the E-flat carries through the unmetered bar 1. The sixteenth note five-tuplets should still be played with eveimess, and the relational rhythm should be followed. The piano takes precedence over the flute's sustained E at measure 2, so the flutist should play very softly and, as instmcted, without vibrato. The same applies to measures 6, 14, 46, and 95. The accents in this piece should be interpreted more as weighted or lengthened notes, rather than aggressively tongued notes. I prefer to create a tone color change at the pianissimo in measure 22. I suggest creating a longing feeling, perhaps by using a soft, clear sound, and a quicker vibrato. Tonguing the eighth notes with the tenuto markings will also enhance the emotional content of this passage. At measure 19, the player should return to the mood from measure 14, which was labeled "like a lullaby." The material that appears at measure 52 resembles the opening, but is marked "singing happily" tiiis time.

While this is an elegiac work, it is primarily a celebration of Vinson Hammond's life.

This is especially demonstrated in the music between measures 46 and 93. Measure 61 is even marked "joyously!" For a brighter and more light-hearted tone, I recommend that the performer use a clear, full sound, with a deep and fast vibrato. However, a true forte dynamic should be saved for the first quote of "I can't Help Falling m Love with You" at measure 74. The

'^ Lisa Gamer Santa. "From Noon to Starry Night: Notes," http://cdbaby.com/cd/lgsanta.

29 crescendo molto in measure 72 should be very powerful, and the player should pause briefly in

order to take a full breath before the statement that begins in measure 74. The second quote of

the song is transposed up a major fourth, and nm^oA fortissimo. This statement should be

played with very passionate vibrato. It is the "tear-jerker" moment, if you will, and the

emotional climax of the piece. The passage in measures 87-89 should be very aggressive and

dramatic. I recommend a crescendo and decrescendo of each double-tongued figure, beginning

the first one at mezzo piano, the second at mezzo forte, and the third aX forte.

The opening theme then reappears in un-metered bar 94. This time, Welcher uses

descriptive words such as "deliberate," "very strong and passionate," and "resolute." The

character should fade in intensity as the music progresses. The "inward" and "reminiscent" color

can be created with narrow vibrato, a softer dynamic, and a more forward position of the

embouchure. Although the dynamic marking at 108 \s piano, the performer should make sure to

play loudly enough in order to have room to decrescendo until the ending aXppp, which should

fade into silence.

30 , premiering many new works by other French composers. His teaching and playing styles were modeled after his teacher and predecessor at the Paris Conservatoire, Paul Taffanel (1844-

1908). Both teachers valued a sensitivity of timbre and vibrato, qualities which modem performers must seek to emulate when performing early 20th-century French music. Gaubert was also one of the first prominent flutists to adopt the open-hole silver flute, which was able to produce a brighter, louder sound than its wooden predecessor. Many of his students brought the innovative instrument to the New World as they immigrated to the United States.''* As a composer, Gaubert wrote for orchestra, ballet, opera, and . His compositions were influenced by other French composers of his time and are by no means revolutionary.

However, they are very pleasant works and are still commonly played today. He also wrote two method books in collaboration with Taffanel, both of which are often used for technique development by flutists worldwide.

Practice Guide to the Sonata for Flute and Piano no. 1 by Philippe Gaubert

The first movement of Gaubert's 1917 Sonata for Flute and Piano no. 1 in A Major is marked Modere and should be played with brilliance and fluidity. The theme presented by the flute in the second measure returns several times in the first section of this movement, which lasts until square 3. The key to keeping this section mteresting and flowing is to play each statement of the tiieme differently. Each statement is marked with sunilar dynamics, beginning

With piano and climaxing at mezzo forte, but each should be played with a different tone color or vibrato speed. The opening line, for instance, might be played with a light and glassy color.

'^ Edward Blakeman. Taffanel: Genius of the Flute. (New York: Oxford University Press, 2005), 11. '" Nancy Toff. The Flute Book: a complete guide for students and performers, 2°'' ed. New York: Oxford University Press, 1996), 101-02.

32 This effect can be produced by playing at a soft dynamic, usmg a slow, narrow vibrato, pushing the embouchure slightiy forward in order to create space between the teeth and the lips, and directing the airsti-eam more laterally across the tone hole of the flute. Where a more intense tone color is desired, the player might employ a more direct airstream by using more pressure from the left hand and directing the air column lower into the flute. The player may also form a more open oral cavity, as if blowing into a soda bottle to create a "fog-horn" sound, and increase the speed and amplitude of the vibrato.

Gaubert clearly wrote an overall arch of intensity in this movement. The first section should begin at the bottom of the arch and grow in intensity toward the character change at square 3, where the tempo, meter, and key change to a more dance-like feel. However, the player should not grow too loud, keeping in mind that the second section will continue to intensify until the climax between squares 7 and 8, which is the only place in the movement vfheTQ forte and fortissimo markings appear. Gaubert designates many dynamics that instruct the player to counteract the natural tendencies of the flute. The second half of this movement especially calls for tapers at the ends of ascending phrases. To execute these tapers, relieve pressure from the left hand, direct the airstream higher, and tighten the embouchure, while still maintaining a fast airspeed. The head may also be raised a little, or the flute may be rolled out slightly. These actions should facilitate a decrease in dynamic, while keeping the pitch from going flat. For the closing phrase in the flute, the second trill key may be added to the final E.

This fingering will bring the pitch up considerably and assist in the taper of tiie phrase, which should fade into silence. Liberties may be taken with rubato where designated and also where the piano part rests, such as in bars 9 and 10. Where tenuto marks appear under slurs, each note should be tongued clearly while the air colunm remains steady.

33 The second movement. Lent, is laid out in an ABA format. It begins and ends with quiet repeated themes, while the middle section is louder and more playful. As with the first movement, play each theme with varying tone colors, volume, and vibrato speed and amplitude.

The triplet sixteenth notes at the end of each motive should be either clearly moving forward into the downbeat of the next measure or decidedly holding back. In either case, the performer may exercise liberties with rubato at the endings of phrases. The dynamics in this movement are much more unpredictable than in the first. The fourth measure of square 1, for instance, seems to be growing toward the fifth bar, but instead there is a piano marked on the downbeat of that measure. In instances such as these, the performer should lengthen the last eight note of the bar with the crescendo, then make a sudden change on the piano. This interpretation will make the contrast more drastic and will follow composer's intent. If the pitch is sharp on the high A-flat five bars after square 5, the first, second, and third fingers may be added on the right hand. The sixteenth and thirty-second notes in this movement should be played smoothly and without shovsdng any emphasis on the beats. Doing so will create a longer line for the listener and will contribute to a beautifiilly rounded phrase.

The third movement. Allegro moderato, continues the soft-loud-soft dynamic arch form that is seen in the first two movements. Note the simplement marking in the opening. The natural tendency of most musicians might be to show the meter by accenting the downbeats.

However, harmonic accent ab-eady exists because the primary notes in the key of C-sharp minor

(C-sharp, G-sharp, and F-sharp) appear on the downbeats of measures one, two, and three.

Keeping the Ime long and free of excessive contour will contiibute to the simplicity that is required. This is also the case when the first tiieme repeats. Confrastingly, as shown in Figure

34 23, the up-stemmed notes at square 4 instmct the performer to emphasize the first note of each arpeggiated chord.

^^ Fig 24. Square 4

The articulation and dynamic markings in this measure are very clear and appropriate, and the performer should use them to infer changes in character. At square 5, the staccato notes should be played crisply with short puffs of the air controlled by the abdominal muscles. The flutist should play these gestures playfully, rather than harshly or clipped. In passages where staccatos are designated, the unmarked notes should be played longer and more lyrically in contrast. The tenuto markings imply length, as well as added stress or emphasis. The performer should play these notes with a fast, steady airstream, using a heavy articulation. The performer should make marked differences in character when the original theme and the theme which first appears at square 5 alternate. The original theme from the first movement reappears at square 16, completing the overall cyclic form of the work. Here it should be played gently and introspectively. As with the ending of the first movement, the second trill key may be added to keep the pitch up and assist the decrescendo into silence. The performer may also wish to roll the flute out minutely, push the right hand forward slightly, and direct the air column higher in order to maintain the pitch.

35 CHAPTER 7: AARON COPLAND'S DUO FOR FLUTE AND PIANO

Fig 25. Aaron Copland

Aaron Copland (1900-90) was an American composer and an accomplished pianist. He is widely knovm as "the dean of American composers." Copland's music achieved a balance between modem music and American folk styles. The open, slowly changing harmonies characteristic of many of his works are said to evoke the vast American landscape. He also incorporated percussive , changing meter, , polychords, and tone rows in a broad range of works for concert hall, theater, ballet, and fihns. Aside from composing,

Copland was a teacher, lecturer, critic, writer, and conductor.'^ One of his many instrumental works is "Duo" for Flute and Piano, which was composed in 1971 in memory of William

Kincaid by commission of his students.

'^ Howard Pollack. Aaron Copland. (Urbana-Champaign, Illinois: University of Illinois Press, 2000), 186.

36 Fig 26. William Kincaid

William Morris Kincaid was bom on April 26, 1895 in Mirmeapolis, Mirmesota. He began to study the flute at the age of eight. He later attended the Institute of Musical Art in New

York and studied with the famous French flutist CJeorges Barrere. In 1914, Professor Kincaid joined the New York Symphony Orchestra at the invitation of Walter Damrosch, performing as a soloist with the orchestra as well as with the New York Chamber Music Society. In 1921, he was invited by to become the principal flutist of the Philadelphia Orchestra, where he remained until his retirement in 1960. During this period. Professor Kincaid eamed the reputation as the finest American orchestral flutist of his time. Kincaid also taught at the Curtis

Institute of Music. Kincaid championed the development of what is considered to be a distinctive American style, and passed that characteristic on to his shidents. Today, he is considered to be the fatiier of tiie American school of flute playing. Professor Kincaid died

March 27, 1967 16

•* John Krell. Kincadiana: a Flute Player's Notebook (Culver City, California: Trio Associates, 1973), 93.

37 Practice Guide to the Duo for Flute and Piano by Aaron Copland

The opening to the first movement of Copland's "Duo" should be played in a '' or speaking style, but the performer should still follow the instmction of tiie movement's titie,

"Flowing." Individual interpretation can be used to vary the tempo and to shape the phrase. It may, for instance, be played simply and slowly, with minimal vibrato. The crescendo and decrescendo markings should be observed without being overdone and outbalancing the wistful mood of the music. The high F on the beat before square 1 should be tongued gentiy and not accented, and the high G-flat in the measure before square 3 should be treated similarly. The following section, from page two to page three, contains scalar runs that must be played with rhythmic accuracy and eveimess. The opening mood returns at square 11 and should be played like the beginning, with a relaxed tone and speech-like style. The harmonic C in the measure before square 14 can be played using several different fingerings, one of which is shown in

Figure 27. o oo Fig 27. Harmonic C Fingering

This fingering will result in a very sharp harmonic, allowing the performer to play as softly as desired without fear of falling flat. However, it does not produce tiie characteristic overtones that are produced witii tiie normally fingered harmonic. Consequently, I prefer to use the fingering for low F, overblowmg to tiie second partial. Usmg tiiis harmonic fingering offers a more in-time harmonic and still results in a sound tiiat provides tiie harmonic overtones tiiat tiie first fingering lacks. The high B-flat on the beat before square 14 should be ti-eatedwiti i finesse, which is of course very difficult to achieve on such a high note. The use of the fingering shown

38 in Figure 28 will facilitate a more delicate attack. The pitch for this fingering is sharp and will need to be compensated for by playing with a very slow airsfream and small embouchure. The flutist should note that the thumb B-flat key must be depressed, or the resulting pitch will be a B- natural.

Fig 28. High B-Flat Fingering

The final high E-flats should be very stiong and deliberate. They will tend to be very sharp, but using the right-hand pinky to depress both the D-sharp key and the C-sharp key will help to keep the pitch down, freeing the flutist to play with volume and projection.

Movement II, "Poetic, somewhat mournful," was published separately under the titie

Poem in 1977. It opens with a melancholy, transcendent piano line. The flute should enter at a soft dynamic, without vibrato, and with a cool, diffused tone. Using such a tone color will help the performer to create a significant contrast in measure 12, where the player is asked to play with a 'Svarmer tone." Here, the flutist should add vibrato and play with a more concentrated, or focused tone. The mood of this work becomes slightly more aggressive at square 2, but the line should still be connected. I interpret the harmonics in measures 30 and 31 as being representative of funeral bells. These harmonics can be played witii the fingerings of the notes two octaves below and should be connected and nonvibrato. Square 5, like square 2, should be played "with emphasis," but without harsh accent or space between tiie notes. Square 7 repeats the opening section, witii the exception of octave displacement, and should be played like tiie beginning.

39 Movement III, "Lively, with bounce," is composed in a more typical Copland style, as can be heard in his Rodeo and Appalachian Spring. This movement can be interpreted as the celebration of William Kincaid's life, and should be played with energy and spirit. Exaggerating accents and length of the tenuto and staccato indications will help to produce the desired effect.

Rhythmic accuracy is essential in this movement, since there are many entrances that occur on an upbeat that follows a chord on the dovmbeat from the pianist. The grace notes that occur from

143 to the end should be heard clearly and should be played as slowly as possible while still feeling energized. At the "broaden tempo somewhat," the double-tongued notes, although marked marcato, should be played with direction and shape within the phrase. The grace notes at the end of the movement (shown in Figure 29) should be clear and even.

—. -=

The performer may wish to substitute harmonic fingeringsfo r these. I find it most usefiil to finger the B-natural grace note normally, overblow an A-flat to produce the D-sharp, and overblow a B-natural for the F-sharp. The last note should be resonant and not clipped so that the tone continues to ring along with the tone of the piano, which finishes in unison v^th the flute.

40 CONCLUSION

It is my aim that this these practice guides and the accompanying CD will be instmctive to flutists wishing to study these pieces. While each musician will no doubt use his or her own musical intuition to interpret these works, I have provided suggestions that I have found usefiil to my own performances and presented relevant information that will give the performer a frame of historical and contextual reference for his or her understanding of each composition. Even non- flutists and non-musicians, however, can benefit from parts of the instmctive portion that discuss each compositions historical context, using the knowledge to further their understanding of the many facets of music and its composition as it is impacted by time, place, and situation. The disc included demonstrates my suggestions, providing a performer with tangible examples to follow if he or she so chooses. It is also my hope that non-flutists will be musically enriched by my performance.

However, it is not only my readers and listeners vdio stand to benefit from this thesis. In undertaking this project, I leamed skills and gained knowledge that will certainly be useful in my fiiture career as professional performer. I am now able to confidently produce my own recording for commercial, educational, and competitive purposes. Also, writing the practice guides prompted me to research each work more thoroughly than I might have otherwise and helped me to develop a perspicacity and clarity of expression that are required for teaching. In taking to task my proposed project, I have addressed weaknesses in my own course of study, namely my unfamiliarity with media performances and musical instiiiction, and augmented my marketability and versatility as a teacher and performer. In conclusion, I recommend that Music Performance

41 programs implement the inclusion of a recording project, accompanied by a set of performing instmctions, into undergraduate and graduate curriculums.

42 BIBLIOGRAPHY

Blakeman, Edward. Taffanel: Genius of the Flute. New York: Oxford University Press, 2005.

Chase, Robert. Intioduction to Memento Mori. Lanham, Maryland: The Scarecrow Press, Inc., 2007.

Fred Bock Music Companies. "Ken Medema," http://www.fredbock.com/Promo.asp?page=261 (accessed October 20, 2008).

Galway, James. "Program Notes." March 4, 2008.

Hell, Henri, translated from the French by Edward Lockswpeiser. Francis Poulenc. London: John Calder, 1959.

Ivry, Benjamin. Francis Poulenc. New York: Phaidon Press Limited, 1996.

Krell, John. Kincadiana: a Flute Player's Notebook. (Dulver City, California: Trio Associates, 1973.

Lebrecht, Chris. The Companion to 2(f'-Century Music. Cambridge Massachusetts: Da Capo Press, 1996.

Library of Congress. "Coolidge Auditorium Reopens," http://www.loc.gov/loc/lcib/9712/coolidge.html (accessed September 7, 2008).

Marc James Design, "Isamu Noguchi," http://www.marcjamesdesign.coni/article.php?nav=l&id=16 (accessed October 15, 2008).

Ohtake, Noriko. Toru Takemitsu. Hants, England: Scolar Press, 1993.

Oja, Carol J. and Juditii Tick, Ed. Aaron Copland and His World. Princeton, New Jersey: Princeton University Press, 2005.

Parks, Ted. "Songs on the Spot: Christian Singer Ken Medema," The Baptist Standard. (April 23, 2001).

Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. Urbana- Champaign, Illinois: University of Illinois Press, 2000.

Rampal, Jean-Pierre and Deborah Wise. Music, My Love: An Autobiography, New York: Random House, 1989.

43 Robertson, Alec. Requiem: Music of Mourning and Consolation. New York: Frederick A. Praeger, Publishers, 1968.

Santa, Lisa Gamer. "From Noon to Starry Night: Notes," CD Baby Independent Music. http://cdbaby.com/cd/lgsanta (accessed October 15, 2008).

Siddons, James. Toru Takemitsu: A Bio-Bibliography. Santa Barbara, California: Greenwood Publishing Group, 2001.

Stolba, K. Marie. The Development of Western Music: A History. Dubuque, I A: W.C. Brown Publishers, 1990.

Taffanel, Paul and Philippe Gaubert 17 Grands Exercices Joumaliers de Mecanisme pour Flute. Paris: Alphonse Leduc, n.d.

Theodore Presser Company, "Dan Welcher," http://www.presser.com/Composers/info.cftn?Name=DANWELCHER (accessed November 9, 2008).

Toff, Nancy. The Flute Book: a complete guide for students and performers, 2"** ed. New York: Oxford University Press, 1996.

Transart. "Jean-Pierre Rampal," http://www.transartuk.com/rampal/photo.htm (accessed September 7, 2008).

Whitwell, David. "Funeral Music in the Ancient World, Essay Nr. 59." Essays on the Origins of Western Music. 2009.

Wellesz, Egon, ed. Ancient and Oriental Music: Volume I. New York: Oxford University Press, 1999.

44