Musicians distill methods of learning and performing music based on their environment, culture, and available instruments. Just as musicians gain instinctive qualities and familiarity with "rules," composers write music based on the same conditions. Music composed in the Baroque period lacked instructional performance directions beyond terms referring to tempo and volume because a majority of the interpretation was left up to the musicians. In terms of the flute, stylistic elements such as ornamentation, vibrato, and articulation were learned by rote and embedded in each performer. Correspondingly, challenges arise when attempting to learn a Baroque piece on the modem flute, as the development of the instrument has changed elements such as the fingerings, application of ornaments, and articulation. Through qualitative autoethnographic research, this study explored the intricacies of Baroque flute performance practice. A review of modem and period literature, audiovisual materials, interpretation of Telemann's Fantasy #2 in a minor TWV 40:3, and lessons with a professional a Baroque flutist were used to understand the challenges of interpretation and replication of early music. This study can aid flutists of the 21st century looking to explore historically informed practice (HIP) and provide a better understanding of the relationship between modem and period performance practice

Faculty Mentor: Dr. Elizabeth Janzen

School of Music