Artist Bio

Sonja Giles

Sonja Giles has appeared as a recitalist, chamber musician, and educator at a variety of venues across the United States, Austria, Belgium and Russia. She has appeared as a soloist with the Kaliningrad Symphony Orchestra (Russia), Iowa State University Wind Ensemble, Ottumwa Symphony Orchestra, Iowa State University Orchestra, and numerous bands throughout Iowa. Giles is a member of the Cedar Rapids Opera Company and performs with the Cedar Rapids Symphony Orchestra. She is a founding member of the ensemble Atlas Trio with oboist, Elizabeth Young and pianist, Ruth Lin.

In addition to her performing career, Dr. Giles is equally zealous about her role as an educator, currently Assistant Professor of Flute at Iowa State University. In 2008, Sonja was honored as the recipient of the 2008 University Award for Early Excellence in Teaching, as well as the Cassling Early Excellence in Teaching Award. Giles credits her teaching to her wonderful teachers, Sheryl Cohen, Tadeu Coelho, Immanuel Davis, Julia Bogorad-Kogan and Keith Underwood. She received her B.M. in Flute Performance at the University of Alabama, M.M. at the University of Iowa and D.M.A. at the University of Minnesota. Giles has given master classes in Wyoming, New Mexico, Alabama, Wisconsin and Minnesota. Giles teaches on the summer faculty at the Young Musicians Camp, in Evanston, Wyoming.

Dr. Giles coordinated the 2004 and 2009 Iowa Flute Festivals and is annually sought out as a soloist and master class clinician. At the annual National Flute Association conventions, Dr. Giles has performed, given presentations, and most recently directed the ISU Flute Ensemble at the 2008 Convention.  She is currently Vice-President of the Eastern Iowa Flute Association.

Artist Interview

Sonja Giles

We had the opportunity to ask Sonja a few questions. Check out her thoughts on essential qualities for musical excellence, her unique teaching style, as well as advice for upcoming flutists.


1. What qualities do you think are most essential to musical excellence?

There are two necessary ingredients for musical excellence: technical mastery and expressive artistry. To quote Marcel Moyse: Have something to say – Say it well! I think he’s instructing us to master the fundamentals (excellent rhythm, impeccable intonation, and suppleness of tone) and charging us to SAY SOMETHING! How do you use your vibrato, spin your sound – what are you trying to say?


2. Your current project is publishing an accompaniment book for Marcel Moyse’s Tone Development Through Interpretation. Can you talk about how this project began and developed?

As a doctoral student of Julia Bogoard-Kogan (a prize student of Moyse), I found that I didn’t know a majority of the arias included in Tone Development Through Interpretation. Julia would recreate the mood and atmosphere in which Moyse used with her when teaching her. Tone Development Through Interpretation is a collection of his most cherished melodies. He knew them intimately!

I went about creating a supplemental guide to educate the typical flutist that isn’t familiar with the arias contained in Tone Development Through Interpretation. I didn’t know which would be more beneficial: the harmony underlining the melody or an understanding of the text. So, I decided to include both! Now that I’ve done the work, I think both are equally important. My forthcoming book will contain scene synopsis of each opera, texts & translations of each aria, and ‘easy to play’ harmonic reductions.

Since this is my summer project, I keep fighting the desire to procrastinate. Many times I’ve wondered if anyone (besides myself) would be interested in this research. However, recently I’ve been rehearsing with the Des Moines Metro Opera and Cedar Rapids Opera Company every night, and can now understand why Moyse was so moved to emulate great singers.  I find myself running home and playing an aria from that night’s performance!


3. You were recently awarded the prestigious University Award for Early Excellence in Teaching in 2008. What are the qualities one must have in order to be nominated for this award? Also – What might be unique about your teaching style/approach that gave you that extra edge in winning the award?

Well, first – I feel extremely lucky to have gotten this award!  To obtain this award, you must be nominated by students and peers (both inside and outside of the university), as well as have a record of excellence in teaching. I believe that my outstanding students are the ‘record’ of my excellence in teaching!

As far as what might be unique in my educational approach, perhaps it is my teaching philosophy. I try my hardest to ‘reach’ each student. If a student isn’t doing their personal best, I scrutinize my instruction first. I try to ascertain why it isn’t working – and what I can do differently.

I also try my hardest to light a fire in my students. If I can ignite a desire to learn in them, my work is a piece of cake!!! I am teaching future teachers, who will in turn teach the next generation. For the arts to continue, we must foster a respect and delight in the arts!


4. How did you choose Miyazawa as your flute of choice?

This was really a no-brainer.  I tried to make the decision harder than it was. I played a Miyazawa and fell in love with it, but thought that such an important decision couldn’t be that easy. I proceeded to try every other flute on the market, and kept coming back to Miyazawa. I find that my Miyazawa allows me to say what I want to say, musically speaking. It has made playing so easy and enjoyable – I just love it!


5. If you had one piece of advice to give for an upcoming flutist, what would you tell them?

TAKE TIME TO THINK:
Be Mindful.
Reflect.
Make wise, thoughtful choices.
Do what is right for YOU.
Listen to your heart.