Artist Bio
Kenneth Cox (USA)
Kenneth Cox, born and raised in Georgetown, SC, is currently pursuing a Bachelor of Music degree in Flute Performance under the tutelage of Dr. Jennifer Parker-Harley at the University of South Carolina-Columbia. He is an Honors Graduate of the South Carolina Governor’s School for the Arts and Humanities, where he studied with Dr. Caroline Ulrich. Before the Governor’s School, Kenneth studied with Mrs. Tacy Edwards, Professor of Flute at the College of Charleston.
Kenneth has been involved and traveled with many ensembles around the United States and Europe, including the Governor’s School Foundation Woodwind Quintet, the Mozart Woodwind Trio, the SCGSAH Wind Ensemble, to name a few. He sat Principal Flute in the Carolina Youth Symphony during the 2009-2010 school years and ranked top honors at the SC All-State Band and All-State Orchestras in between 2005-2010. In May 2010, Kenneth performed at the premier Governor’s school recital, named the Senior Showcase-2010, with the Governor’s School Foundation Woodwind Quintet, and with pianist, Lisa Lee. In the winter of 2010, Kenneth placed 2nd at the MTNA State Competition, 1st at the South Carolina Music Educators Association Master Solo Recital held at the SCMEA Annual Convention in Charleston, SC and was runner-up for the Carolina Youth Symphony Senior Honors Concerto Competition. He has performed in Masterclasses with musicians such as Goran Marcusson, Brad Garner, Stephen Preston, Keith Underwood, and James Campbell.
Kenneth is currently involved with the USC Wind Ensemble, USC Symphonic Winds, the Contemporary Flute Quartet, the USC Opera Orchestra and DuoSolaris, a flute and saxophone duo with Evan Clark; Saxophone Performance major at the University of South Carolina. Kenneth is currently scheduled to give a presentation and lecture named “American Contemporary Flute Music of Today” at the Saarburg International Music Festival in Saarburg, Germany in July of 2011.
Artist Interview
Kenneth Cox (USA)
We had the opportunity to ask Kenneth a few questions. Check out his thoughts on preparing for competitions, conquering nerves and advice for upcoming flutists.
1. Why did you choose to play the flute?
When I was first starting the 6th grade, the band program had an open doors night, which means all of the prospective music students could go around and pick out which instrument they wanted to play. As I was walking around with my parents, I stopped at the flute and said “This one looks really cool!! Can I please play it?”. And ever since then, I have not been able to get my hands off of it!
2. You have attended the Wildacres Flute Retreat in the past. What were your experiences like while there?
Wildacres was a blast! I met SO many flute players from around the country, as well as internationally, and learned so much from it. It is in a BEAUTIFUL location, in the heart of the Blue Ridge Mountains in North Carolina. It was so peaceful focusing on flute for a week in a wonderful environment. I was able to play for Göran Marcusson, Stephen Preston and Brad Garner, and it was basically a breathtaking experience! I’m actually returning to Wildacres this summer. Anna Thibeault, director of the retreat, is so kind and puts in a lot of effort to make Wildacres a memorable week (as she did for me). As much fun as it was to learn about flute and the flute repertoire, it was also just as fun to get to know many flutists on a personal level and obtain a relationship that will never end. I definitely recommend it for any flutists out there!
3. What preparation tips can you give to others preparing for competitions and/or recitals? How do you conquer nerves?
It is never too early to start preparing! One of my biggest fears with performances/competitions is not being prepared, and I always give myself enough time to become comfortable with the repertoire I’m performing. In order for the audience/judges to become focused on the music, I believe you have to know what influenced the music, what the composer wanted, and also the lifestyle the composer had/has.
One of the major misconceptions I have noticed with competitions is a majority of competitors learn just technical aspects of the music. I feel it is necessary to have an understanding of the notes, as well as having an appropriate musical line that is affective to the listener.
It has taken me a while to overcome nerves, and that has only come with experience in performing. When performing in a recital, I always just say to myself, “The people in the audience care for me and are here to support me. Just have fun!” If you think about messing up, then you’re more likely to mess up.
4. What upcoming performances do you have that you are currently looking forward to?
In Mid-May, I am giving a recital in Pawley’s Island, South Carolina in the “Night of the Rising Stars: Alumni Recital” performing pieces by Edison Denisov and Alex Shapiro. In late May, I will be playing in the Piccolo Spoletto USA Symphony Orchestra in Charleston, South Carolina for two weeks; also, I am planning to give a South Carolina performance tour with pianist Aimee Fincher, Graduate Piano Student at USC, in mid-June. In addition, I will be returning to the Wildacres Flute Retreat in June to play for Göran Marcusson and Brad Garner. It will be tons of fun!
5. What was it like to spend your junior and senior year of high school at the South Carolina Governor’s School for the Arts and Humanities?
The South Carolina Governor’s School for the Arts and Humanities holds a very special place in my heart. I took advantage of many opportunities that were given to the students, such as a European performance tour, weekly student recitals, weekly masterclasses, lectures given by guest artists, guest conductors and much more. In addition to the musical growth, I obtained many relationships with instructors and students who were currently there with me. Many of the friends I made are off a top-name schools around the country, and they still keep in contact with me. The friendships I made their will never end. SCGSAH is what kick-started my music career and will indeed affect many of the opportunities that I will have in the future. It is one of the best things that have ever happened to me!
6. What does your typical practice routine look like?
First, I do a thorough and intense warm-up session. Dr. Jennifer Parker-Harley, my flute professor at the University of South Carolina, constructed a complete warm-up guide called “The Nifty-Nine”. The nine steps are: Scales (extended to High-D), Arpeggios, Double-Tonguing (Garner Exercise, Bach C Major-Allegro, and Scherzo from the Midsummer Night’s Dream), Harmonics, Whistle Tones, Long Tones, Long Tones with Tuner, Vibrato and Melodies (from Moyse: Tone Development through Interpretation). This takes about an hour if done properly. After all of these steps, I work on Etudes (such as the Karg-Elert Caprices/Anderson Etudes/Fürstenau Etudes). I then focus on Orchestral Excerpts and repertoire. I focus less on repertoire than I do on warming-up, because warming-up is building endurance and flexibility in your playing. Without the fundamentals, you can’t effectively perform repertoire.
7. You are currently scheduled to give a presentation and lecture in Saarburg, Germany this summer. What will you be presenting?
As a huge advocate for New music, I will be giving a lecture/presentation on American Contemporary Flute Music and how it is similar/different than the common styles in Europe. I have been studying different composers who live in Germany, and I will presenting how compositional styles in America are different from those of German descent. As Germany is a focal-point for New Music, it will be a good experience to present to an audience who is passionate about the newer compositional styles.
8. How did you come to choose Miyazawa as your flute of choice?
I instantly knew that Miyazawa was for me. When I first played notes on my flute, I could automatically produce many more tone colors than any other flute I had played. It’s interesting, because I’ve always had to search for the right amount of color change, but on my Miyazawa, it seems almost effortless. The mechanism on my Miyazawa is extraordinary, as well. Out of all of the flutes I have tried (and I’ve tried many), the key action is the best on Miyazawa’s. I love my Miyazawa!
9. If you had one piece of advice to give for an upcoming flutist, what would you tell them?
Have fun playing your flute!! It is hard work and a lot of dedication to become successful, but ultimately have fun while doing it!