Skip to Main Content

Flute Materials in the Riemenschneider Bach Institute

Devienne, François, Jane M. Bowers, and Thomas Boehm. François Devienne’s Nouvelle Méthode Théorique et Pratique pour La Flute. Aldershot, England; Brookfield, Vt: Ashgate, 1999. MT342 .D4 1999 FACS. Internal Use Only.

Full Title Page

François Devienne's / Nouvelle Méthode Théorique et Pratique pour La Flute / Facsimile of the original edition / with an introduction, annotated catalogue of later editions, and translation by Jane Bowers / Commentary on the original edition by Thomas Boehm / Ashgate / Aldershot • Brookfield USA • Singapore • Sydney

Item Contents

Divided into 3 sections: background information on Devienne and his Flute Method (pages 1-84), a full translation of the method (pages 85-116) and a full facsimile of the original French work, first published in 1794 (Index, pages F1-F77).

First section provides a biography on Devienne, discusses predecessors to Devienne's Flute Method, and provides further information on the various editions of Devienne's method that have been published.

Second section provides a full translation of all text in the Devienne Flute Method, including the titles of all pieces included in the method. The translation does not include any transcriptions of the pieces themselves.

Third section provides a full facsimile of the Devienne Flute Method in the original French, including all pieces and the original title page.

Instructional Method Contents

The Devienne Flute Method begins with eleven "Articles" which introduce the basic skills needed to play the flute. The first four Articles provide the reader with the very basics of flute playing: putting the flute together, holding the flute, producing tone, and tonguing. The remaining Articles present musical concepts such as articulations, trills, turns, and appoggiaturas. There is also a brief section discussing Syncopation, though this section is not technically dubbed an "Article" by the author. The latter portion of the book is devoted to a number of short pieces arranged in a progressive order. These pieces include sets such as "Twenty Little Airs", and "Eighteen Duos" and concludes with a set of six sonatas in progressive order.

Unique Markings

RBI Ex Libris Plate reads "Ex Libris Albert Riemenschneider"

Pencil markings on inside cover blank page read "R 4699" and "$95.91"

Pencil markings on title page read "R 4699" and "MT342.D4" and "1999"

Stamp on title page reads "May 03 2001"


Oleskiewicz, Mary, Jane Bowers, and Thomas Boehm. “François Devienne’s Nouvelle Méthode Théorique et Pratique Pour La Flute.” Notes 57, no. 2 (December 2000): 388.

Reilly, Edward R. Review of François Devienne’s Nouvelle Méthode Théorique et Pratique pour La Flute, by Jane Bowers and Thomas Boehm. Music & Letters 81, no. 4 (November 2000): 619.

Devienne, François (1759-1803)


François Devienne was born in Joinville, France on January 31, 1759 to Pierre Devienne, a saddle-maker, and his wife Marie Petit. It is unknown how Devienne's family was able to afford a musical education for him, but it is commonly thought that he studied with a local organist, his brother, and/or his godfather. In 1779, at age 20, Devienne served as a fifth-chair bassoonist for one season with the Paris Opéra - during which time he studied flute with Félix Rault, the ensemble's principal flutist. In 1780, Devienne left the Opéra to work as a musician and composer for the Cardinal de Rohan - a position he maintained until 1785 when the Cardinal was arrested. During this time, Devienne was also active in the Masonic group La Société Olympique and likely played in the group's orchestra. 

Devienne is thought to have returned to Paris around 1788, at which point he joined the Théâtre de Monsieur as a bassoonist and, two years later, joined the Paris National Guard's military band. During his tenure with the Théâtre, multiple of Devienne's own operas were staged and he seemed to have risen to prominence as both a composer and a performer. In 1794, Devienne published his Nouvelle Méthode Théorique et Pratique pour La Flute, and, a year later in 1795, he became an administrator and flute professor at the newly established Paris Conservatoire.

However, in April of 1801, the Théâtre closed without notice and, in 1802, the Paris Conservatoire reduced the salaries of many of their professors, including Devienne. In the final year of his life, Devienne's mental and physical health rapidly declined - he was admitted to Charenton, a home for the mentally ill in Paris, on May 7, 1803. He died in Charenton on September 5, 1803.

Further Reading

Montgomery, William. “Devienne, François.” Grove Music Online, January 20, 2001.

Montgomery, William. “Seeking François Devienne.” Flutist Quarterly 34, no. 4 (Summer 2009): 36–40.

Montgomery, William. “Seeking François Devienne, Part 2.” Flutist Quarterly 35, no. 1 (Fall 2009): 38–44.

Bowers, Jane M. (1936-2022)


Jane Meredith Bowers was born in Minneapolis, Minnesota on September 17, 1936. Bowers began studying piano at age four and played both flute and piano throughout her elementary, middle, and high school education. Bowers attended undergraduate school at Wellesley College where she received her Bachelor of Arts in 1958. She received her Masters of Arts and her Ph.D from the University of California Berkeley in 1962 and 1971, respectively. She also traveled to Amsterdam from 1965-1966 to study Baroque Flute with Frans Brüggen at the Royal Conservatory of The Hague, making her one of the first American flutists to study Baroque flute.

Bowers held teaching positions at numerous institutions throughout her career, including as a flute instructor at the University of North Carolina at Chapel Hill from 1968-1972 and as an assistant professor of music history and musicology at the Eastman School of Music from 1972-1975. She spent the majority of her career as an Associate Professor of Music at the University of Wisconsin, Milwaukee, where she started teaching in 1981. Bowers produced numerous writings focusing on the flute in historical contexts and female composers and musicians over the course of her career. She passed away on June 28, 2022 at the Silverado North Shore Memory Care Community in Glendale, Wisconsin of natural causes at age 85.

Additional Flute-Related Writings

  • The French flute school from 1700-1760 (1971)
  • Concerning the flute: ten articles about flute literature, flute playing, flute making, and flutist (1984)

Further Reading

Bowers, Jane M. “Oral History Interview with Jane Bowers.” Interview by Cheryl Kader. Milwaukee LGBT Oral History Project Interviews. University of Wisconsin Milwaukee Libraries, August 15, 2007.

David M. Cummings, ed. International Who’s Who in Music and Musicians’ Directory (In the Classical and Light Classical Fields). 13th ed. (Cambridge, England: International Who’s Who in Music, 1992), 87.

Feerick Funeral Home. “Obituary for Jane Meredith Bowers.” Feerick Funeral Home, June 28, 2022.

Jaques Cattell Press, ed. Who’s Who in American Music: Classical. (New York: R.R. Bowker, 1983), 47.

Hotteterre, Jacques, and Paul M. Douglas. Principles of the Flute, Recorder & Oboe: Principes de La Flûte. Dover edition. New York: Dover, 1983. MT342 .H7414 1983. Circulating.

Full Title Page

Principles of the Flute Recorder & Oboe / (Principes de la Flûte) / by Jacques-Martin Hotteterre / Translated, with Introduction and Notes, by Paul Marshall Douglas / Professor of Flute, Baroque Flute, Chamber Music, Collegium Musicum, The University of British Columbia. Founder and Director, The Vancouver Baroque Ensemble / Dover Publications, Inc., New York

Item Contents

Divided into 3 main sections: an introduction from the item's translator, Paul Marshall Douglas (pg. VII-XIII), a select bibliography (pg. XIV-XV), and a facsimile of three of Hotteterre's writings translated into English from its original French (pg. 1-73). The three writings translated in this text are Hotteterre's "Treatise on the Transverse Flute" (pg. 1-43), "Treatise on the Recorder" (pg. 51-67), and "Method for the Oboe" (pg. 71-73), which, while originally published separately at different times around the turn of the 18th century, were published together in Amsterdam in 1728 as "Principes de la Flute Traversiere. ou Flute D'Allemagne. De La Flute a Bec, ou Flute Douce, et du Haut-bois Divises par Traitez" (Principles of the Transverse Flute or German Flute, of the Beaked Flute or Recorder, and of the Oboe, in Separate Treatises).

The translator's introduction provides information on Hotteterre's life, his other writings, and the wider musical culture in France at the time. The introduction also touches on the various editions of the transverse flute, recorder, and oboe treatises that have been published and which editions were utilized in creating the facsimile.

The select bibliography contained a brief list of some of the sources utilized by Douglas in writing the introduction and developing the facsimile.

The translated facsimile of the three Hotteterre methods begins with an image of the original title page from the 1728 Amsterdam edition in French alongside a translated reproduction of the title page in English. From there, the facsimile only presents the English translation of the work, starting with a translation of Hotteterre's original introduction from the same 1728 Amsterdam edition. The facsimile then presents the three treatises in translation, occasionally including reproductions of original diagrams and fingering charts.

Instructional Method Contents

The "Treatise on the Transverse Flute" is by far the longest of the three methods included in the facsimile. The treatise is divided into nine chapters, all of which cover different concepts including basic embouchure and posture for flute playing, fingerings, tonguing, ornaments (specifically trills, appoggiaturas, and mordents), and vibrato. The treatise also includes a fingering chart and a trill chart.

The "Treatise on the Recorder" touches on the same sort of concepts covered in the transverse flute treatise but specialized for the recorder. The treatise is slightly shorter, with only four chapters, each of which focuses on a different concept: hand position, fingerings, trills, and mordents, respectively. 

The "Method for Oboe" is extremely short, consisting of only three pages of content. The method is divided into four sections, each of which is one to six paragraphs long. The sections cover how to hold the oboe, proper embouchure, natural notes, and sharp/flat notes.

Unique Markings

RBI Ex Libris Plate reads "Ex Libris Albert Riemenschneider"

Pencil markings on upper title page read "MT 342 .H7414" and "R.3924"

Pencil markings on center title page read "Rcd 1/8/88"

Pencil markings on lower title page read "(1968) 1983" and "ISBN 0-486-24606-X"

Pencil marking on copyright page reads "73 p."

Written after text on copyright page reading "Previously published as: Rudiments of the flute, recorder, & oboe"

Likely indicates that the previous publication sold for 73 pence.

Pencil marking on copyright page reads "XIV - XV"

Written after text on copyright page reading "Bibliography p."

Refers to item's bibliography which is on pages XIV-XV

Pencil marking on copyright page reads "2.5 cm"

Further Reading

Dikmans, Greg. “Rhythmic Alteration and Articulation in 18th-Century French Flute Music: A Reappraisal of Jacques Hotteterre Le Romain.” Early Music and Historically Informed Performance Practice, November 2019.

Hadden, Nancy. “English Tutors for the German Flute, 1721-1771 Part I: Hotteterre ‘Englished.’” Early Music Performer, no. 9 (September 2001).

Haynes, Bruce. “Tu Ru or Not Tu Ru: Paired Syllables and Unequal Tonguing Patterns on Woodwinds in the Seventeenth and Eighteenth Centuries.” Performance Practice Review 10, no. 1 (1997): 41–60.

Hotteterre, Jacques (1673-1763)


Jacques Hotteterre was born in Paris, France on September 29, 1673 (though this date is debated). His father, Martin Hotteterre, was a part of the famous Hotteterre family of woodwind makers - a trade Jacques himself took up. Little is known about Hotteterre's early life but he was a well-known musician during his time - playing the flute, oboe, and viol at various points throughout his career. The majority of Hotteterre's career as a performer was spent as a musician in the French royal courts - first as a bassoonist and then as a flutist.

Hotteterre was also well-known during his lifetime for his publications, including Principes de la Flûte (first published 1707) which is widely considered to have been the first European manual for the transverse flute. He was also extremely active as a composer, writing numerous sonatas, suites, and other works for the flute and other woodwind instruments. Hotteterre died in Paris on July 16, 1763.

Additional Compositions Featuring the Flute

  • Premier livre de pièces pour la flûte traversière (1708)
  • Sonates en trio pour les flûtes traversières et a bec, violon, hautbois (1712)
  • Pièces pour la flûte traversiere (1715)

Further Reading

Giannini, Tula. “Hotteterre Family.” Oxford Music Online, January 2001.

Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. (Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1996), 395.

Douglas, Paul M. (1936-2010) [editor, translator]


Paul Marshall Douglas was born on March 7, 1936 in Constantine, Algeria. He began playing flute at a young age and studied at Central Methodist College and the Hartt School of Music. He began his musical career as a high school band director before briefly serving as Interim Music Instructor at Drake University. Douglas ultimately spent the vast majority of his career as a professor in the woodwind department of The University of British Columbia, a position he held for 26 years until his retirement. During that time, Douglas also became a founding member of the Vancouver Baroque Ensemble and served as conductor and music director of the Vancouver Philharmonic Orchestra from 1972-1976. He also worked to transcribe, translate and publish numerous Baroque texts and works throughout his career. Douglas died on December 31, 2010 in Cranbrook, British Columbia, Canada.

Further Reading

UBC Ceremonies and Events. “Professor Paul Marshall Douglas Memorial Service.” The University of British Columbia, March 11, 2011.

The Vancouver Sun. “Obituary for DOUGLAS, Paul Marshall, 1936-2010.” March 5, 2011.

WorldCat Identities. “Douglas, Paul M. 1936-2010 (Paul Marshall).”

Quantz, Johann Joachim, and Arnold Schering. Versuch Einer Anweisung Die Flöte Traversiere Zu Spielen: Kritisch Revidierter Neudruck Nach Dem Original, Berlin 1752. 2. Auflage. Leipzig: C.F. Kahnt, 1926. MT342 .Q3 1926. Circulating.

Full Title Page

Johann Joachim Quantz / Versuch einer Anweisung die Flöte traversiere zu spielen / Kritisch revidierter Neudruck nach dem Original Berlin 1752 / Mit einem Vorwort und erläuternden Anmerkungen versehen / von Dr. Arnold Schering / 1. Auflage 1906 / 2. Auflage 1926 / Eigentum des Verlegers für alle Länder / C. F. Kahnt, Leipzig / 1926

Translation of Full Title Page

Johann Joachim Quantz / Essay of a Method for Playing the Transverse Flute / Revised reproduction based on the original 1752 edition published in Berlin / with an introduction and explanatory notes / by Dr. Arnold Schering / 1st edition published 1906 / 2nd edition published 1926 / Property of the publisher in all countries / C. F. Kahnt, Leipzig / 1926

Item Contents

Item begins with a forward by Arnold Schering ("Vorwort des Herausgebers") (pg. III-X). It then presents the Quantz Versuch Einer Anweisung Die Flöte Traversiere Zu Spielen as it was written in the first 1752 German edition published in Berlin in contemporary typesetting with a slightly modernized Breitkopf Fraktur font.

The major difference from the original Quantz version is the musical examples. While the original Essay contained all musical examples in a back index, the Schering version adds those examples inline with the chapters' text.

Item also includes an Appendix ("Anhang.") in the back which contains two musical pieces titled "Anhang A" ("Appendix A") and "Anhang B" ("Appendix B").

Instructional Method Contents

See Quantz, Johann Joachim, and Edward R. Reilly - On Playing the Flute

Unique Markings

RBI Ex Libris Plate reads "Ex Libris Hans Theodore David"

Pencil markings on inside cover read "D238" and "MT 342 .A2 Q2"

Blue pencil marking on inside cover reads "H. T. David"

Possibly Hans Theodore David's signature

Stamp on inside cover reads "7 9"

Pencil marking on cover page reads "D"

Red pencil markings in margin of page 29 read "X" and "II"

Pencil markings in margins of page 55 and 57 read "II"

Pencil marking in margin of page 64 reads "s schad / st slark"

Pencil markings on page 1 of Anhang A (Appendix A) appear to be musical markings indicating piece has been practiced by someone

Further Reading

See Quantz, Johann Joachim, and Edward R. Reilly - On Playing the Flute

Quantz, Johann Joachim (1697-1773)

See Quantz, Johann Joachim, and Edward R. Reilly - On Playing the Flute

Schering, Arnold (1877-1941) [editor]


Arnold Schering was born in Breslau, Poland (modern-day Wrocław) on April 2, 1877. When Schering was young, he and his family moved to Dresden, Germany where he began taking lessons on the violin. Initially, Schering had hoped to have a career as a touring concert violinist, studying with Joseph Joachim in Berlin and organizing a tour with pianist Bruno Hinze-Reinhold. However, Schering ultimately decided to study musicology instead, studying at the University of Berlin, University of Munich, and University of Leipzig - receiving his Ph.D. at the University of Leipzig in 1902.

Schering was extremely active in multiple areas of musicology throughout his career. He was the editor of the Neue Zeitschrift für Musik from 1903-1905 and of the Bach-Jahrbuch from 1904-1939. Schering also taught at the Leipzig Conservatory and the University of Leipzig from 1909-1923 as well as at the University of Halle from 1920-1928. In 1928, Schering began teaching at the University of Berlin, where he remained the chair of the musicology department. During that time, he also served as the president of the Deutsche Musikgesellschaft as well as director of the Denkmäler Deutscher Tonkunst and chair of the Händel-Gesellschaft.

When the Nazi party rose to prominence in Germany, Schering aligned himself and the organizations he headed with their ideals - dismissing Alfred Einstein, the Jewish editor of the Deutsche Musikgesellschaft's journal in 1933 and using concepts of German racial superiority in his analysis of Beethoven's music in his 1934 work Beethoven in neuer Deutung. Schering died in Berlin, Germany on March 7, 1941.

Further Reading

Schnapper, Edith B. “Schering, Arnold.” Grove Music Online, January 2001.

Slonimsky, Nicolas. Baker’s Biographical Dictionary of Twentieth-Century Classical Musicians. Edited by Laura Kuhn and Dennis McIntire. (New York: Schirmer Books, 1997): 1191.

Quantz, Johann Joachim, and Edward R. Reilly. On Playing the Flute. New York: The Free Press, 1966. MT342 .Q313 1966. Circulating.

Full Title Page

Johann Joachim Quantz / On Playing the Flute / A Complete Translation with an Introduction and Notes / by Edward R. Reilly / Faber and Faber / 24 Russell Square / London

Item Contents 

Begins with an introduction discussing the importance of Quantz's Essay of a Method for Playing the Transverse Flute (Versuch Einer Anweisung Die Flöte Traversiere Zu Spielen) and Quantz's life (pg. ix-xxxiv) followed by a preface to the translation which explains the process of translating Quantz's work from its original 1752 German and French editions into English. Also explains how the text treats musical examples, which are included inline with the chapters instead of in a back index as was originally the case in Quantz's work.

The reproduction of the work itself begins with an image of the title page from the first German edition of Quantz's Essay of a Method for Playing the Transverse Flute alongside an English translation of that same title page. From there, the item only presents the English translation of the work, starting with a translation of the work's original preface followed by a photo of the frontispiece from both the French and German first editions. It then heads straight into the work's introduction and eighteen chapters of content. The item concludes with a translation of Quantz's original index followed by a bibliography.

Instructional Method Contents

Quantz's Essay of a Method for Playing the Transverse Flute is divided into eighteen chapters. The first chapter introduces the transverse flute and its history. Chapters 2-10 cover the basics of flute playing, including embouchure, breathing, ornamentation, and practicing. Chapters 11-14 cover slightly more advanced musical concepts that, while presented specifically in flute contexts here, could be transferrable to any instrument, including playing at different tempos and cadenzas. Chapter 16 provides advice for playing the flute in public settings while chapter 17 provides advice for instrumentalists accompanying the flute (with seven subsections for specific instruments/roles). The final chapter, chapter 18, offers advice on how to evaluate the quality of a musician or musical composition. The method concludes with an "Index of the Most Important Matters" which provides an alphabetical index of topics covered in the essay. 

Unique Markings

RBI Ex Libris Plate reads "Ex Libris Hans Theodore David"

Pencil markings on inside cover read "D237" and "MT 342 Q 313"

Stamp on inside cover reads "7 9"

Pencil markings on cover page read "D237" and "MT 342 Q 313"

Further Reading

Reilly, Edward R., and Andreas Giger. “Quantz, Johann Joachim: 3. Writings.” Grove Music Online, January 2001.

Quantz, Johann Joachim (1697-1773)


Johann Joachim Quantz was born in Hanover, Germany on January 30, 1697. His father, Andreas Quantz, was a blacksmith - a trade which Johann took up at age 9. In 1707, Johann Joachim Quantz was orphaned and adopted by his uncle, Justus Quantz, who was a tailor and court musician. Johann studied music under Justus until the latter died a mere three months later - at which point Johann studied under Justus' successor Adolf Fleischhack. Under Fleischhack's tutelage, Quantz studied numerous instruments but, at the time, he primarily played the violin. Quantz quickly made a name for himself as a musician, first as a member of the Dresden town orchestra in 1716 and then as an oboist in the Royal Polish Orchestra in 1718. However, in 1719, Quantz decided to switch his focus to the transverse flute, studying with flutist Pierre-Gabriel Buffardin and violinist Johann Georg Pisendel. Quantz also found himself unsatisfied with the amount of repertoire available for the transverse flute at the time, which led him towards composing for the instrument.

In 1727 Quantz returned to the Dresden and, in 1728, he became a flutist with the Dresden court chapel. During his time with that ensemble, he played in front of then Crown Prince Frederick the Great. Federick was so impressed with Quantz's playing that, when he became King of Prussia in 1740, he appointed Quantz to be a court composer and chamber musician - a position Quantz remained in for over three decades until his death in Potsdam on July 12, 1773.

Additional Compositions Featuring the Flute

  • Approx. 300 flute concertos
  • Approx. 40 flute trio sonatas
  • Approx. 200 flute solo sonatas

Further Reading

De Lorenzo, Leonardo. My Complete Story of the Flute: The Instrument, the Performer, the Music. Revised and Expanded Edition. (Lubbock: Texas Tech University Press, 1992), 69-76.

Reilly, Edward R., and Andreas Giger. “Quantz, Johann Joachim.” Grove Music Online, January 2001.

Slonimsky, Nicolas. Baker’s Biographical Dictionary of Musicians. 7th ed. (Oxford: Oxford University Press, 1984), 1834-1835.

Reilly, Edward R. (1929-2004) [translator]


Edward Randolph Reilly was born in Newport News, Virginia on September 10, 1929. He attended the University of Michigan throughout his educational career, where he received his B.M. in 1949, his M.M. in 1952, and his Ph.D. in historical musicology in 1958. Reilly taught at a number of institutions, including Converse College (1957-1962), San Francisco State College (Summer 1962), the University of Georgia (1962-1972), Boston University (Summer 1980), and Vassar College (1970-1996). He was involved in numerous societies, including the American Musicological Society, Music Library Association, and International Gustav Mahler Society. 

Reilly is best known for his work on Modest Mussorgsky, Guido Adler, and Gustav Mahler. However, his earliest significant contributions in the world of musicology came in the form of his work on Johann Joachim Quantz. Reilly's On Playing the Flute is the first complete translation of Quantz's treaty Versuch einer Anweisung die Flöte traversiere zu spielen and his companion work Quantz and his Versuch: three studies also provided invaluable insights into Quantz's work. Reilly died of heart disease on February 28, 2004 in Poughkeepsie, New York.

Additional Flute-Related Writings

  • Johann Joachim Quantz’s ‘Versuch einer Anweisung die Flöte traversiere zu spielen’: a Translation and Study (diss., U. of Michigan, 1958)
  • Further Musical Examples for Quantz’s Versuch (1964)
  • Quantz and his Versuch: Three Studies (1971)
  • Quantz and the Transverse Flute (1997)

Further Reading

Anderson, Martin. “Edward Reilly.” The Independent, July 14, 2004.

Fox, Gerald S. “In Memoriam Edward R. Reilly (September 10, 1929–February 28, 2004).” Wunderhorn: The Newsletter of the Gustav Mahler Society of New York 4, no. 1 (Fall/Winter 2005): 1. [Archived].

Jaques Cattell Press, ed. Who’s Who in American Music: Classical. (New York: R.R. Bowker, 1983): 357.

Mann, Brian. “Edward R. Reilly (1929–2004).” AMS Newsletter 34, no. 2 (August 2004): 18.

Morgan, Paula. “Reilly, Edward R(andolph).” Grove Music Online, August 30, 2004.

Each listing is separated into two sections - information about the item and information about the item's author. 

The item listings on this page contain the following fields, some of which may be excluded if they are not applicable to a particular item:

  • Full Title Page: a transcription of the full title page with “/” denoting page breaks
  • Item Contents: a brief description of the modern edition's contents
  • Instructional Method Contents: a brief description of the original method's contents
  • Provenance: any known details about the item's provenance
  • Unique Markings: a list of unique markings (pencil markings, stamps, ex libris plates, etc.) found in the item
  • Reviews: reviews of the particular modern edition from external scholarly sources

The author listings on this page contain the following fields, some of which may be excluded if they are not applicable to a particular author: 

  • Biography: a brief biography detailing the author’s life and other works
  • Additional Flute-Related Writings: a list of writings by the author that focus on the flute
  • Additional Compositions Featuring the Flute: a list of compositions by the author that feature the flute in some way. Include the instrumentation and year of composition in paratheses after each listing 
  • Further Readings: sources utilized in the author’s listing that may be of interest to researchers