Diversity in Flute Through Pedagogy and Repertoire: A Summary of Three Dissertation Recitals

As part of the requirements for the degree of Doctor of Musical Arts (Music: Flute) in the University of Michigan, I performed three recitals. The program chosen for the recitals represented the areas of study, research and interest that I dedicated myself to develop during my doctorate studies. Each recital focuses on very different repertoire; however, two unifying threads run through them. The first one is the pedagogical approach to all recitals, where I care about the performance of the works and how to present them to my future students. Secondly, the importance of Diversity, Equity and Inclusion, a personal priority in my life, here presented through programing and education. The programs presented works by underrepresented composers, such as Latin American and women composer; a new approach to etude study and finally the performance of different types of flute for a more varied and historically informed performance and pedagogical approach. The first recital, Latin American Music Initiative: changing the anonymity of Latin American Composers and the Invisibility of their works showcased works edited, commissioned and promoted by my organization, the Latin American Music Initiative (LAMI), an organization created and developed with Régulo Stabilito (DMA’22) at the University of Michigan with the support and guidance of SMTD Faculty. The second recital Understanding Flute Etudes: The Backbone of a Flutist’s Growth was a lecture recital with a pedagogical approach. This recital presented my research on contextualizing composers of flute etude books and proposing the assignment of flute etudes based on the historical contextualization of the repertoire to be studied. This approach would expand the conversations about stylistic interpretation and performance practices of the repertoire studied and would allow for a deeper and extended exposure allowing for a comprehensive approach to flute lessons. In this recital, I gave a historical contextualization based on a timeline and the development of the flute. Important composers of etudes and repertoire were performed side by side showcasing similarities of approach among both works. Finally, I offered an detailed table that contextualized flute etudes books and the repertoire it would influence based on the era of composition. A third area of study, developed during my studies at the University of Michigan is the performance of a new instrument, the one-keyed flute. The study and understanding of this instrument, which was the flute used during the baroque era, has allowed me to learn about the possibilities of the instrument. This process has helped me to contextualize the performance practices of this repertoire and become a better teacher and performer. The four of the five pieces of this repertoire were performed on the one-keyed flute and the fifth piece was performed on the modern flute, making a connection between an appropriate approach to perform baroque works that respects the performance practices and possibilities of the baroque instrument. Finally, it is important to mention that my selection of the repertoire was deeply affected by the fact that the three recitals were presented during the COVID-19 quarantine months. All works performed were recorded at home in a solo format or with the collaboration of my husband, Régulo Stabilito on the cuatro and baroque guitar. The limitations of these recitals created a challenge that allowed me to grow and present three performances experimenting with technology and a more creative approach.AMUMusic: PerformanceUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/162861/1/mfcastil_1.pd