MUS 1-2-3-440, 3-4-545

Instructor: Marsha Elliott-Edwards (Dr. Snizek on academic leave first term, returning January 2025)

Preferred contact method:

First term: marshaelliottedwards@gmail.com

Second term: ssnizek@uvic.ca

Welcome to the UVic Flute Studio! We are eagerly looking forward to working with each one of you as your flute instructors and artistic mentors at the UVic School of Music.

Required Materials 

All flute students are required to obtain the following:

1. 24 Petite Melodies by Marcel Moyse https://www.amazon.com/Moyse-24-Little-Melodic-Studies/dp/B00006M2QH

2. Taffanel and Gaubert “17 Daily Exercises” https://www.amazon.com/Exercises-Jounaliers-Mecanisme-Ejercicios-Mechanismo/dp/B01N9NVNEK/ref=pd_sbs_7?pd_rd_w=DGHqG&pf_rd_p=2419a049-62bf-452e-b0d0-ca5b7e35a7b4&pf_rd_r=G81XV0DSHVKYY7741W0Q&pd_rd_r=ec41c34c-e483-49f3-934f-b341d304ddcb&pd_rd_wg=zCnmM&pd_rd_i=B01N9NVNEK&psc=1

3. “Practice Book for the flute” by Trevor Wye (please be sure to get the Omnibus edition) https://www.amazon.com/Trevor-Wye-Practice-Flute-Omnibus/dp/1783054255

4. Phillipe Bernold’s “Technique de L’embouchure”  https://www.justflutes.com/shop/product/la-technique-dembouchure-philippe-bernold

Suggested but optional, depending on individual aspirations: Walfrid Kujala’s Orchestral Techniques for flute and piccolo: An Audition Guide:  http://www.progress-press.com/publications/orchestral-techniques-for-flute-and-piccolo

Required for second term:

5. Aspiring Flutist’s Practice Companion by Terri Sanchez https://www.fluteworld.com/product/aspiring-flutists-practice-companion/

6. Daily Exercises for the Flute by André Maquarre https://www.fluteworld.com/product/daily-exercises-3/

In addition, we will be making individually tailored recommendations, and students will be expected to purchase additional music as needed throughout the year. Please note: we have an outstanding flute music collection in the main library. Many of the solo pieces you will be studying are available for free (!) and can be checked out from the library. I strongly encourage you to utilise our fine library collection!

Every undergraduate student will prepare a weekly etude, in addition to tonal study, technical work and repertoire. In addition, every student will perform at least four times (as a soloist or chamber musician) each term. These performances may take place in studio recitals, Friday music performances, Tuesday music performances, degree required solo recitals and/or masterclass performances.

Graduate students will generally be expected to complete a greater volume of significantly more advanced repertoire more quickly. The predominant focus of graduate lessons will naturally be on preparing degree required recitals and professional endeavours. Focus will shift following completion of recitals towards professional or DMA auditions, orchestral repertoire, competitions and/or festival preparation.

Course objectives:

1. to develop and nurture each flute student’s tonal/technical control and skill
2.  to develop and nurture musical expressiveness, using those aforementioned skills, to the highest individual degree
3.  to build performance confidence and ability based on experiential performance experiences (e.g., through studio recitals, Tuesday music, Friday music, graduation recitals)
4.  to support development of a physically and emotionally healthy and sustainable performance practice (i.e., building awareness of HOW to approach work in the practice room to increase productivity and personal satisfaction)

A few words regarding weekly masterclass: All students are encouraged to attend masterclass and all masterclasses are open to all flute students. However, since masterclass is a component of 245, 345, 445 and 545, it is only required for students enrolled in these courses. IF you intend to pursue performance as a degree stream and/or future career path, you should fully participate in MC.

Health If any health-related concerns arise through the course of the year please immediately inform me, and I will extend the same courtesy to you. We will accommodate the situation as needed.

Advising If you require assistance or mentoring outside of your lesson time, please request (via email) an appointment (FTF or on zoom, depending on scheduling).

If you require undergraduate course or degree advising, please make an appointment with Ms. Sarah Riecken (FA undergraduate adviser).

If you are a graduate student and require advising, please either consult with Professor Wendell Clanton (Acting Head of Winds in Dr. Snizek’s absence), and/or Dr. Snizek: ssnizek@uvic.ca and/or the current graduate advisor Joe Salem musigrad@uvic.ca

Communication Announcements will be posted on the UVic flute blog: https://finearts.uvic.ca/music/flute/

Please keep a close eye both on the blog and your UVic email address for important updates and details. Consistent and open lines of communication will significantly support your success.

Scheduling: Please note: lesson slots may need to shift to accommodate my eventual chamber music coaching schedule. You will also be provided, in a separate document, the overall masterclass schedule which includes guest artist zoom classes for the year. These will generally take place during regular masterclass (1130-1220 Wednesdays).

The teaching schedule for second term will be determined by the substitute teacher (changes may be necessary; she will connect with you in December to arrange schedule).

Please note the lesson schedule will occasionally need to fluctuate. Thank you in advance for your flexibility.

Lesson expectations: Each lesson is 50 minutes in length. All students are expected to be punctual, ‘warmed up’ and fully prepared. Have all necessary materials: music, pencil w eraser, combined metronome/tuner, your lesson notebook. Please maintain detailed notes regarding assignments, goals and my suggestions and observations. I recommend compiling your summary notes immediately following the lesson (for optimal retention of information).

Organisation is a key ingredient in musical development as well as academic success.

Course requirements:

1. Each undergraduate student will complete a year-end jury or degree required recital (in second term). During first term we will work towards a successful jury or recital.
2. Each undergraduate student is required to develop growing mastery towards the technical exam (administered in February), while each graduate student is required to demonstrate progress on individually assigned orchestral excerpts (as specified the first week of term).
3. All undergraduate non-performance majors are required to perform at least twice in first term (Tuesday music, Friday music, studio recitals and/or master classes). All MMUS students and undergraduate performance majors are required to perform at least four times in first term in the above possible venues.
4. Individual lesson attendance is required, unless excused for medical or academic concession reasons (the most recent University policy regarding academic concessions is outlined in link below).
5. For all performance majors and graduate students: Master class attendance and full participation is required.

Attendance policy

1. Unexcused missed lessons will not be made up.
2. If you know in advance you need to reschedule a lesson (for any reason) please arrange this directly with another willing student via email. After the change is confirmed with the other student, inform me by email ssnizek@uvic.ca (while cc’ing the other student).
3. If you must miss a lesson because of illness, please email me, with as much advance notice as possible, at the above address. Generally, I require 24 hrs. advance notice in order to reschedule a lesson, otherwise the lesson may be forfeited.

Master Class Please note the following changes: All students are expected to attend MC regardless of major stream. Flute MC now meets Wed 1130-1220. Wind Symphony now meets Monday and Thursday from 1030 to 1220, with Orch meeting Tuesdays and Fridays from 10-1150.

Beginning in second term: we will occasionally hold master class at other times to accommodate guest artist schedules or special campus/faculty-wide events (e.g., “Five Days of Action”). These dates will typically be set well in advance and listed in our Masterclass schedule (a draft will be provided in our first masterclass second term). If you cannot attend one of the irregularly scheduled guest MC’s due to an unavoidable conflict, please simply inform Dr. Snizek in advance.

For all students: quality of participation, degree of attentiveness and musical preparedness will be the determining factors in the assessment of your participation in master class.

Regarding Undergraduate Juries 

At the end of the school year, there will be a juried performance exam of 15 minutes duration for all undergraduate performance stream students and 10 minutes for all other undergraduate degree streams. This is an opportunity to demonstrate your work to other faculty. Students will perform selections from two contrasting works studied during the year, in addition to selected technical materials (drawn from the technical exam administered during your lesson in the first week of February; requirements outlined below). A juried performance exam missed for any reason other than a genuinely serious illness or unavoidable true emergency cannot be rescheduled.

Undergraduate Technical exam (administered during first lesson in February)

The following are required materials for the exam February 2025:

1. All major and minor scales, in 16^th notes, in standard articulations: 2t 2s; 2s2t; 2s2s; all t, all s, 3s1t, 1t3s. Scales must be memorised and performed at a speed selected in prior consultation with each individual student in September.
2. All major and minor arpeggios in 16^th notes in the standard articulations of 2t 2s; 2s2t; 2s2s; all t, all s, 3s1t, 1t3s (memorised and at individual speed, as determined above).
3. T and G exercise #4 (memorised and at individual speed as determined above).

For aspiring performance majors:

• T & G exercise # 12, 14 and 15 in all articulation patterns listed (individual speed again determined as above). Memorisation is strongly encouraged for those intending to major in performance.

Private lesson mark rubric:

40% of mark (all students):

1. Weekly private lesson, including reading reflections in second term AND
2. Weekly master class

This part of your mark assesses your degree of weekly preparedness, as well as attendance, respectful attentiveness, receptivity to instruction and punctuality.

 20% of mark:

1. For Undergraduates: Your progress towards the technical exam, as evident in regular check-ins during lessons.  Please note: The undergraduate technical exam will be held first lesson in February; my replacement is aware of exam content and will be evaluating this exam. All undergraduate students will be assessed in fluency, accuracy, tonal consistency and speed.
2. For Graduate students: special topics as determined by prior consultation.

AND 40% of mark: Quality of performances (which may include Tues/Fri music, studio recitals and/or masterclasses). For all 245, 345 and 445 students: IPS for performance majors: Participation in IPS is expected for all undergraduate performance majors (please note: IPS is currently not required for graduate students).

Readings and Reflections Two short written reflections (between 250 and 300 words) on required readings are expected as part of this course. Please choose from the relevant lists below.

You may complete your assigned reflections in any order that works best for you. First summary is due by 31 January; second is due by 5 March. Early submissions (during second term) are welcomed.

This assignments is intended to heighten your awareness of performance issues. Each student should experiment, applying their readings to their own practice. To that end, please provide three specific examples of how you applied information (i.e., sourced from a given reading). This assignment requires forethought and active experimentation.

Important: Please submit your summaries via email with “Student Name: 2023-24 Reading Summary #X” in subject line.  Please note: late assignments will not be accepted, though you may submit early (during second term only).

Readings for Second term 2024-2025 Please choose two readings from below.

For first year students: 

1. The Inner Game of Music by Barry Green
2. Big Magic by Elizabeth Gilbert
3. Playing (Less) Hurt by Janet Horvath
4. Body Mapping for Flutists by Lea Parsons

For second year students:

1. The Creativity Habit by Twyla Tharp
2. The Proper Flutist by Trevor Wye or Music and the Flute by Thomas Nyfenger
3. Casals and the Art of Interpretation by David Blum
4. Mastering Creative Anxiety by Eric Maisel OR Art and Fear by David Bayles and Ted Orland

For third year students:

1. Kincaidiana by John Krell
2. The Notation is Not the Music by Barthold Kuijken
3. Making your Creative Mark: Nine Keys to Achieving your Artistic Goals by Eric Maisel
4. The Early Flute by Rachel Brown

For fourth year students:

1. Six Weeks to Finals by Sharon Sparrow
2. Arrau on Music Performance by Joseph Horowitz
3. The Proper Flutist by Trevor Wye or Flute by James Galway
4. On the Art of Playing the Flute by Quantz

For graduate students: Please choose any two readings from the above list.

Practice 

I suggest daily practice be strategically proportioned as follows:

25% tone (mindfully seek to carry out every practice session SLOWLY, CALMLY AND WITH INCLUSIVE AWARENESS)

25% technique

25% etudes

25% repertoire

Attending concerts, performing, listening to recordings, reading relevant texts and physical exercise/stretching (yoga is especially useful, as is swimming and running!) are all important activities. These should be considered a regular part of your ‘out of the practice room’ artistic practice. In addition to studio recitals, all flute students are expected to attend their professors’ and student flutist’s degree-required solo recitals.

Materials 

I will be making individually tailored recommendations and students will be expected to purchase music as determined by instructor. Every undergraduate will prepare a weekly etude, in addition to tonal study, technical work and repertoire. Given time constraints I will not be able to hear all assigned technical work, however students should carry out this aspect in good faith. Graduate students will be expected to complete a greater volume of more advanced repertoire more quickly.

All undergraduate students will cover all genres (early music, classical, Romantic/French salon, twentieth/twenty-first century and avant-garde music).

Piccolo, Alto and Bass playing are all encouraged. We are fortunate to have a superb new Burkhart professional piccolo, and a beautiful alto flute in addition to a “bass flute.” Any of these may be borrowed with instructor permission and a completed form (which can be obtained from Claire at front office). Students who require auxiliary instruments for school ensembles will have priority.

Occasionally we will have online masterclass guests. Please note the following important information regarding online conduct for all students: The University of Victoria is committed to promoting critical academic discourse while providing a respectful and supportive learning environment. All members of the university community have the right to this experience and the responsibility to help create such an environment. The University will not tolerate racism, sexualized violence, or any form of discrimination, bullying or harassment. Please be advised that, by logging into UVic’s learning systems and interacting with online resources, you are engaging in a University activity. All interactions within this environment are subject to the University expectations and policies. Any concerns about student conduct may be reviewed and responded to in accordance with the appropriate University policy. Please report concerns about online student conduct: onlineconduct@uvic.ca

Studio policies

1. I do not photocopy music or lend music from my personal library. As with any academic course, all students are expected to secure their own materials. You may also borrow materials from the MacPherson library. We have an outstanding and unusually comprehensive music collection! I can also request the library purchase new items if they do not happen to have an item we need. However, it is important to develop your own music library for your own eventual professional life.
2. Performances represent the work we do together in the studio, as well as your own individual practice. Therefore, when I feel a work is ready to be performed, I will suggest a concert venue/opportunity and/or a recording project to be posted online.
3. I will approve concert requests after I have heard the material successfully and confidently presented in a polished manner as it is to be presented publicly (i.e., in its entirety). Performance permission slips will not be signed in anticipation of later work. Please plan ahead.
4. Please consult with me before scheduling degree-required solo recitals.
5. I have significant sensitivities to many artificial scents. Please avoid scented products (perfume, hairspray, strongly scented shampoo, bodywash, soap etc.) for all in-person flute classes. Please note that most professional ensembles have a “no scent” policy, so it is sensible to adopt a “no-scent” approach now in your professional training.

I am looking forward to a very productive and enjoyable musical journey with you! Please join me in extending a very warm welcome to our new studio members!

Supportive information and links

Regarding undergraduate marking at UVic:

https://www.uvic.ca/calendar/future/undergrad/index.php#/policies?group=Undergraduate%20Academic%20Regulations

Regarding graduate marking at UVIc: https://www.uvic.ca/calendar/future/grad/index.php#/policy/B13jeiMdE?bc=true&bcCurrent=07%20-%20Grading&bcGroup=Faculty%20Academic%20Regulations&bcItemType=policies

For UVic academic calendar:

https://www.uvic.ca/calendar/future/undergrad/index.php#/home

For UVic’s undergraduate academic policy https://www.uvic.ca/calendar/future/undergrad/index.php#/policies

For UVic’s graduate student academic policy: https://www.uvic.ca/calendar/future/grad/index.php#/policies?group=Faculty%20Academic%20Regulations

Please also note the policy regarding academic concessions: https://www.uvic.ca/registrar/students/appeals/acad-concession/index.php

For information on academic supports (available to all Uvic students):  https://www.uvic.ca/orientation/new-student-handbook/academic-support/index.php

Please see below link for important Wellness and Safety information:

https://www.uvic.ca/residence/parents-guardians/wellness-and-safety/index.php

Counselling Services – Counselling Services can help you make the most of your university experience. They offer free (!), professional, confidential, inclusive support to currently registered UVic students.

https://www.uvic.ca/student-wellness/index.php

Health Services – University Health Services (UHS) provides a full-service primary health clinic for students, and coordinates healthy student and campus initiatives.

https://www.uvic.ca/services/health/

Centre for Accessible Learning – The CAL staff are available by appointment to assess specific needs, provide referrals and arrange appropriate learning accommodations. The sooner you let them know your needs, the quicker they can assist you in achieving your learning goals in this course.

https://www.uvic.ca/services/cal/.

Elders’ Voices – The Office of Indigenous Academic and Community Engagement (IACE) has the privilege of assembling a group of Elders from local communities to guide students, staff, faculty and administration in Indigenous ways of knowing and being. https://www.uvic.ca/services/indigenous/students/programming/elders/index.php