Hawk Littlejohn (June 12, 1941 – December 14, 2000) is considered one of America's greatest contemporary Native American flute makers. At the time of his death, he was living in Old Fort, North Carolina, where he made his flutes and kept alive his native Cherokee traditions. His expertise in Native American medicine afforded him a position as adjunct professor at the University of North Carolina at Chapel Hill's medical school, and as a cultural consultant for the Smithsonian Institution and the North Carolina Museum of History. He also wrote essays on Cherokee life, traditions, spirituality, and medicine in a column called "Good Medicine" for the Keetoowah Journal. An important aspect of Hawk's spirituality was his commitment to environmentalism and the connectedness of all life. The flute was his connection with the past and the future, and he combined historical and modern methods in its making. Like many flute makers, Hawk often used dead wood or scrap wood, especially due to the quality of wood in the wild and of old growth wood used in the old buildings. He used a modern lathe to shape the flute, but burned the holes in the traditional fashion with heated steel rods. His flutes are collected and played by flutists all over the world. Many flute makers find inspiration from Hawk Littlejohn's nature-themed symbolic flute designs and original hand-carved details.
In the Tin flute, characters are affected by the country’s poor economical situation and while they try to overcome the poverty, they find themselves lonely and unwanted in a society that is undergoing the great depression and World War 2.
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2016.05.31 The Board of Directors of the FluteTree Foundation will be meeting June 14 - June 16, 2016 to create strategic business plans, programs, and projects for the foundation.
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My own studies have found that the music of the opera is uniquely unified. I prepared two extensive examinations of the musical unity: Recurrent Melodic Structures and Libretto Continuity in Mozart’s “Die Zauberflöte, UMI ATT 6907734, and “Structure as Hermeneutic Guide to The Magic Flute”, The Musical Quarterly (New York: Macmillan, Inc.) 72:1 (1968), 51-73. Further, I have found that there is a recognizable coherence in the plot, if one takes into account not only the sung text but also the spoken dialogue, a characteristic of the theatrical genre called Singspiel that was being created here. The complete text and stage directions are available in Vol. 2 of my monograph, The Cultural Context of Mozart's "Magic Flute" (The Edwin Mellen Press, 1991). Once the coherence of both plot and music is understood, and joined to a body of cultural connections (more fully explored in Vol. 1 of The Cultural Context of Mozart's "Magic Flute"), one begins to recognize the meaning that is ultimately imparted by the work as a whole. This meaning is the larger subject of this essay.
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The macrostructure of the opera is key to understanding the meaning of The Magic Flute. The plot functions like a Hegelian dialectic, parallelled exactly by the musical process called sonata-allegro form, the overall construct of the music in the opera. Here is the organization in a nutshell: