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Hicks Dissertation SOLOISTIC FLUTE MUSIC BY KATHERINE HOOVER by CATHY HANCOCK HICKS (Under the Direction of William Davis) ABSTRACT Katherine Hoover has been an important force behind the advancement of women composers in America. Her own compositions are numerous and many of them have won awards. The purpose of this document is to acquaint the music community with five of Hoover’s soloistic works for flute. Although there have been detailed articles published on two of Hoover’s compositions for flute, a full dissertation written on another, and a D.M.A. document in progress on a third, there are several other soloistic flute pieces by her about which little is known. By focusing on these lesser-known works, this document attempts to generate interest in some outstanding compositions for flute. Theoretical and structural characteristics, extra-musical influences, and performance issues are covered as they relate to each piece. As a result, directions for an accurate and stylistically appropriate musical presentation of each work are offered. INDEX WORDS: Katherine Hoover, Flute, Flute Solo Music, Reflections, Winter Spirits, Caprice, Canyon Echos, Divertimento, Women Composers, Performance, Theory, Analysis SOLOISTIC FLUTE MUSIC BY KATHERINE HOOVER by CATHY HANCOCK HICKS B.M., The University of Georgia, 1975 M.F.A., The University of Georgia, 1976 A Document Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2004 © 2004 Cathy Hancock Hicks All Rights Reserved SOLOISTIC FLUTE MUSIC BY KATHERINE HOOVER by CATHY HANCOCK HICKS Major Professor: William Davis Committee: Angela Jones-Reus John Culvahouse Jolene R. Davis David Haas Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2004 iv DEDICATION This document is dedicated to my parents, Carolyn and Buck Hancock. This endeavor would have not been possible without their generous financial and emotional support. v ACKNOWLEDGEMENTS Thanks to my loving husband, Gary, who continually encouraged me, cooked a considerable number of meals, washed a multitude of dishes, and did great quantities of laundry so that this document could become a reality. Special appreciation is extended to Katherine Hoover, composer, flutist, conductor, publisher, and extraordinary woman of the 21st century. Her enthusiasm, encouragement, and selfless assistance throughout this project greatly contributed to its completion and to the positivism of the experience. vi TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.............................................................................................................v LIST OF TABLES....................................................................................................................... viii LIST OF MUSICAL EXAMPLES................................................................................................ ix CHAPTER 1 INTRODUCTION………………………………………………………………… 1 Biographical Information………………………………………………………… 2 Statement of Purpose……………………………………………………………….5 Delimitations……………………………………………………………………….6 Methodology……………………………………………………………………….6 Related Literature…………………………………………………………………..8 2 REFLECTIONS Variations on a Medieval Norwegian Chant ....................................11 Structural Issues ......................................................................................................12 Performance Issues..................................................................................................17 3 WINTER SPIRITS.......................................................................................................23 Structural Issues ......................................................................................................23 Performance Issues..................................................................................................26 4 CANYON ECHOS ......................................................................................................33 “Dance,” Structural Issues.......................................................................................33 “Dance,” Performance Issues ..................................................................................40 vii “Serenade,” Structural Issues ..................................................................................43 “Serenade,” Performance Issues..............................................................................47 “She Mourns,” Structural Issues .............................................................................49 “She Mourns,” Performance Issues.........................................................................51 “He Returns,” Structural Issues...............................................................................53 “He Returns,” Performance Issues ..........................................................................57 5 CAPRICE.....................................................................................................................63 Structural Issues ......................................................................................................64 Performance Issues..................................................................................................71 6 DIVERTIMENTO .......................................................................................................75 “Allegro giocoso,” Structural Issues .......................................................................75 “Allegro giocoso,” Performance Issues...................................................................82 “Adagio-Vivace-Adagio-Vivace,” Structural Issues...............................................83 “Adagio-Vivace-Adagio-Vivace,” Performance Issues ..........................................92 7 COMMENTARY ON ADDITIONAL SOLOISTIC FLUTE MUSIC BY KATHERINE HOOVER………….... .........................................................................96 Conclusion ...............................................................................................................99 BIBLIOGRAPHY........................................................................................................................102 APPENDICES A COMPOSITIONS BY KATHERINE HOOVER......................................................105 B KATHERINE HOOVER – MUSIC ON CD AND CASSETTE ..............................109 C DEFINITION OF TERMS ........................................................................................111 D COPYRIGHT PERMISSION FROM KATHERINE HOOVER..............................112 E CONTRACT FOR VISUAL RESOURCES .............................................................113 viii LIST OF TABLES Page Table 2.1: Reflections, Form…. ………………………………………………………………...12 Table 3.1: Winter Spirits, Form ………………………………………………………………...24 Table 4.1: Canyon Echos, “Dance,” Pitch-Class Sets ............................................................. 34-35 Table 4.2: Canyon Echos, “Dance,” Form.....................................................................................36 Table 4.3: Canyon Echos, “Serenade,” Form ................................................................................43 Table 4.4: Canyon Echos, “Serenade,” Pitch-Class Sets...............................................................45 Table 4.5: Canyon Echos, “She Mourns,” Form…. ......................................................................49 Table 4.6: Canyon Echos, “She Mourns,” Pitch-Class Sets ..........................................................50 Table 4.7: Canyon Echos, “He Returns,” Form.............................................................................53 Table 4.8: Canyon Echos, “He Returns,” Pitch-Class Sets...................................................... 61-62 Table 5.1: Caprice, Pitch-Class Sets..............................................................................................66 Table 6.1: Divertimento, “Allegro giocoso,” Form .......................................................................76 Table 6.2: Divertimento, “Adagio-Vivace-Adagio-Vivace,” Form...............................................84 ix LIST OF MUSICAL EXAMPLES Page Example 1: Reflections for solo flute, lines 1 and 2 ......................................................................12 Example 2: Reflections for solo flute, line 4, mm. 1-6, line 5, m. 1 ..............................................13 Example 3: Reflections for solo flute, line 8, m. 6, line 9, m. 1.....................................................14 Example 4: Reflections for solo flute, line 13, mm. 1-3 ................................................................15 Example 5: Reflections for solo flute, OPENING and VARIATION III ......................................19 Example 6: Reflections for solo flute, line 17, mm. 1-3 ................................................................21 Example 7: Winter Spirits for solo flute, lines 1 and 2..................................................................26 Example 8: Winter Spirits for solo flute, line 3, mm. 1-3..............................................................28 Example 9: Winter Spirits for solo flute, line 10, mm. 3-4............................................................29 Example 10: Winter Spirits for solo flute, line 22, mm. 1-6..........................................................32 Example 11: Canyon Echos for flute and guitar, “He Returns,” mm. 1-6.....................................54 Example 12:
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