The flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening. According to the instrument classification of Hornbostel-Sachs, flutes are categorized as edge-blown aerophones.

A musician who plays the flute can be referred to as a ''flute player'', a ''flautist'', a ''flutist'', or less commonly a ''fluter''.

Aside from the voice, flutes are the earliest known musical instruments. A number of flutes dating to about 40,000 to 35,000 years ago have been found in the Swabian Alb region of Germany. These flutes demonstrate that a developed musical tradition existed from the earliest period of modern human presence in Europe.

History

The oldest flute ever discovered may be a fragment of the femur of a juvenile cave bear, with two to four holes, found at Divje Babe in Slovenia and dated to about 43,000 years ago. However, this has been disputed. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, Germany. The five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the discovery officially published their findings in the journal ''Nature'', in August 2009. The discovery is also the oldest confirmed find of any musical instrument in history. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels and a short distance from the oldest known human carving. On announcing the discovery, scientists suggested that the "finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe". Scientists have also suggested that the discovery of the flute may help to explain "the probable behavioural and cognitive gulf between" Neanderthals and early modern human.

A three-holed flute, 18.7 cm long, made from a mammoth tusk (from the Geißenklösterle cave, near Ulm, in the southern German Swabian Alb and dated to 30,000 to 37,000 years ago) was discovered in 2004, and two flutes made from swan bones excavated a decade earlier (from the same cave in Germany, dated to circa 36,000 years ago) are among the oldest known musical instruments. Playable 9000-year-old Gudi (literally, "bone flute"), made from the wing bones of red-crowned cranes, with five to eight holes each, were excavated from a tomb in Jiahu in the Central Chinese province of Henan.

The earliest extant Chinese transverse flute is a ''chi'' (篪) flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty. It is fashioned of lacquered bamboo with closed ends and has five stops that are at the flute's side instead of the top. Chi flutes are mentioned in Shi Jing, compiled and edited by Confucius, according to tradition.

The Bible, in Genesis 4:21, cites Jubal as being the "father of all those who play the ''ugab'' and the ''kinnor''". The former Hebrew term refers to some wind instrument, or wind instruments in general, the latter to a stringed instrument, or stringed instruments in general. As such, Jubal is regarded in the Judeo-Christian tradition as the inventor of the flute (a word used in some translations of this biblical passage). Some early flutes were made out of tibias (shin bones). The flute has also always been an essential part of Indian culture and mythology, and the cross flute believed by several accounts to originate in India as Indian literature from 1500 BCE has made vague references to the cross flute.

Flute acoustics

A flute produces sound when a stream of air directed across a hole in the instrument creates a vibration of air at the hole.

The air stream across this hole creates a Bernoulli, or siphon. This excites the air contained in the usually cylindrical resonant cavity within the flute. The player changes the pitch of the sound produced by opening and closing holes in the body of the instrument, thus changing the effective length of the resonator and its corresponding resonant frequency. By varying the air pressure, a flute player can also change the pitch of a note by causing the air in the flute to resonate at a harmonic other than the fundamental frequency without opening or closing any holes.

To be louder, a flute must use a larger resonator, a larger air stream, or increased air stream velocity. A flute's volume can generally be increased by making its resonator and tone holes larger. This is why a police whistle, a form of flute, is very wide for its pitch, and why a pipe organ can be far louder than a concert flute: a large organ pipe can contain several cubic feet of air, and its tone hole may be several inches wide, while a concert flute's air stream measures a fraction of an inch across.

The air stream must be directed at the correct angle and velocity, or else the air in the flute will not vibrate. In fippled or ducted flutes, a precisely formed and placed windway will compress and channel the air to the labium ramp edge across the open window. In the pipe organ, this air is supplied by a regulated blower.

In non-fipple flutes, the air stream is shaped and directed by the player's lips, called the embouchure. This allows the player a wide range of expression in pitch, volume, and timbre, especially in comparison to fipple/ducted flutes. However, it also makes an end blown flute or transverse flute considerably more difficult for a beginner to produce a full sound on than a ducted flute, such as the recorder. Transverse and end-blown flutes also take more air to play, which requires deeper breathing and makes circular breathing a considerably trickier proposition.

Generally, the quality called timbre or "tone colour" varies because the flute can produce harmonics in different proportions or intensities. The tone color can be modified by changing the internal shape of the bore, such as the conical taper, or the diameter-to-length ratio. A harmonic is a frequency that is a whole number multiple of a lower register, or "fundamental" note of the flute. Generally the air stream is thinner (vibrating in more modes), faster (providing more energy to excite the air's resonance), and aimed across the hole less deeply (permitting a more shallow deflection of the air stream) in the production of higher harmonics or upper partials.

Head joint geometry appears particularly critical to acoustic performance and tone, but there is no clear consensus on a particular shape amongst manufacturers. Acoustic impedance of the embouchure hole appears the most critical parameter. Critical variables affecting this acoustic impedance include: chimney length (hole between lip-plate and head tube), chimney diameter, and radii or curvature of the ends of the chimney and any designed restriction in the "throat" of the instrument, such as that in the Japanese Nohkan Flute.

A study in which professional players were blindfolded could find no significant differences between instruments made from a variety of different metals. In two different sets of blind listening, no instrument was correctly identified in a first listening, and in a second, only the silver instrument was identified. The study concluded that there was "no evidence that the wall material has any appreciable effect on the sound color or dynamic range of the instrument".

Categories of flute

In its most basic form, a flute can be an open tube which is blown like a bottle. There are several broad classes of flutes. With most flutes, the musician blows directly across the edge of the mouthpiece. However, some flutes, such as the whistle, gemshorn, flageolet, recorder, tin whistle, tonette, fujara, and ocarina have a duct that directs the air onto the edge (an arrangement that is termed a "fipple"). These are known as fipple flutes. The fipple gives the instrument a distinct timbre which is different from non-fipple flutes and makes the instrument easier to play, but takes a degree of control away from the musician.

Another division is between side-blown (or transverse) flutes, such as the Western concert flute, piccolo, fife, dizi, and bansuri; and end-blown flutes, such as the ney, xiao, kaval, danso, shakuhachi, Anasazi flute, and quena. The player of a side-blown flute uses a hole on the side of the tube to produce a tone, instead of blowing on an end of the tube. End-blown flutes should not be confused with fipple flutes such as the recorder, which are also played vertically but have an internal duct to direct the air flow across the edge of the tone hole.

Flutes may be open at one or both ends. The ocarina, xun, pan pipes, police whistle, and bosun's whistle are closed-ended. Open-ended flutes such as the concert flute and the recorder have more harmonics, and thus more flexibility for the player, and brighter timbres. An organ pipe may be either open or closed, depending on the sound desired.

Flutes may have any number of pipes or tubes, though one is the most common number. Flutes with multiple resonators may be played one resonator at a time (as is typical with pan pipes) or more than one at a time (as is typical with double flutes).

Flutes can be played with several different air sources. Conventional flutes are blown with the mouth, although some cultures use nose flutes. The flue pipes of organs, which are acoustically similar to duct flutes, are blown by bellows or fans.

The Western concert flutes

The Western concert flute, a descendant of the 19th-century German flute, is a transverse flute that is closed at the top. An ''embouchure hole'' is positioned near the top, across and into which the player blows. The flute has circular tone holes, larger than the finger holes of its baroque predecessors. The size and placement of tone holes, the key mechanism, and the fingering system used to produce the notes in the flute's range were evolved from 1832 to 1847 by Theobald Boehm, and greatly improved the instrument's dynamic range and intonation over those of its predecessors. With some refinements (and the rare exception of the Kingma system and other custom adapted fingering systems), Western concert flutes typically conform to Boehm's design, known as the Boehm system. Beginner's flutes are normally made of nickel silver or brass which is silver plated, while professionals use solid silver, gold, and sometimes platinum instruments. There are also modern wooden bodies instruments usually with silver or gold keywork. The wood is usually African Blackwood.

The standard concert flute is pitched in the key of C and has a range of three octaves starting from middle C (or one half-step lower, when a B foot is attached to the instrument). This means that the concert flute is one of the highest common orchestral instruments, with the exception of the piccolo, which plays an octave higher. G alto and C bass flutes are used occasionally, and are pitched a perfect fourth and an octave below the concert flute, respectively. Parts are written for alto flute more frequently than for bass . The contrabass, double contrabass, and hyperbass are other rare forms of the flute pitched two, three, and four octaves below middle C respectively.

Other sizes of flutes and piccolos are used from time to time. A rarer instrument of the modern pitching system is the treble G flute. Instruments made according to an older pitch standard, used principally in wind-band music, include Db piccolo, soprano flute (the primary instrument, equivalent to today's concert C flute), F alto flute, and Bb bass flute.

The Indian bamboo flute

The bamboo flute is an important instrument in Indian classical music, and developed independently of the Western flute. The Hindu God Krishna is traditionally considered a master of the Bansuri (see below). The Indian flutes are very simple compared to the Western counterparts; they are made of bamboo and are keyless.

Pannalal Ghosh, a legendary Indian flutist, was the first to transform a tiny folk instrument to a bamboo flute (32 inches long with seven finger holes) suitable for playing traditional Indian classical music, and also to bring to it the stature of other classical music instruments. The extra hole permitted ''madhyam'' to be played, which facilitates the ''meends'' (like M N, P M and M D) in several traditional ragas.

Pandit Raghunath Prasanna developed various techniques in the realm of flute playing so as to faithfully reproduce the subtleties and nuances of the Indian classical music. In fact, he was responsible to provide a strong base to his Gharana by training his own family members. Disciples of the family like Pt. Bhola nath Prasanna, Pt. Hari Prasad Chaurasia, Pt. Rajendra Prasanna globally known for their melodious music.

Indian concert flutes are available in standard pitches. In Carnatic music, the pitches are referred by numbers such as (assuming C as the tonic) 1 (for C), 1½ (C#), 2 (D), 2½ (D#), 3 (E), 4 (F), 4½ (F#), 5 (G), 5½ (G#), 6 (A), 6½ (A#) and 7 (B). However, the pitch of a composition is itself not fixed and hence any of the flutes may be used for the concert (as long as the accompanying instruments, if any, are tuned appropriately) and is largely left to the personal preference of the artist.

Two main varieties of Indian flutes are currently used. The first, the Bansuri, has six finger holes and one embouchure hole, and is used predominantly in the Hindustani music of Northern India. The second, the Venu or ''Pullanguzhal'', has eight finger holes, and is played predominantly in the Carnatic music of Southern India. Presently, the eight-holed flute with cross-fingering technique is common among many Carnatic flutists. Prior to this, the South Indian flute had only seven finger holes, with the fingering standard developed by Sharaba Shastri, of the Palladam school, at the beginning of the 20th century.

The quality of the flute's sound depends somewhat on the specific bamboo used to make it, and it is generally agreed that the best bamboo grows in the Nagercoil area in South India.

Chinese flute

Chinese flute are called [dizi] (笛子). There are many varieties of dizi with different sizes, structures (with or without resonance membrane) and number of holes (from 6 to 11) and intonations (playing in different keys) in China. Most are made of bamboo, but can come in wood, jade, bone, and iron. One peculiar feature about Chinese flute is the use of a resonance membrane mounting on one of the holes which vibrates with the air column inside the tube. It gives the flute a bright sound. Commonly seen flutes in modern Chinese orchestra are bangdi (梆笛), qudi (曲笛), xindi (新笛), dadi (大笛). The bamboo flute playing vertically is called “xiao”(簫) which is a different category of wind instrument in China.

Japanese flute

The Japanese flute, called the fue , encompasses a large number of musical flutes from Japan, both of the end-blown and transverse varieties.

Sring

The sring (also called ''blul'') is a relatively small, end-blown flute with a nasal tone quality and the pitch of a piccolo, found in the Caucasus region of Eastern Armenia. It is made of wood or cane, usually with seven finger holes and one thumb hole, producing a diatonic scale. The sring is used by shepherds to play various signals and tunes connected with their work, and also lyrical love songs called ''chaban bayaty'', as well as programmatic pieces. The sring is also used in combination with the ''def'' and the dohl to provide music for dancing. One Armenian musicologist believes the sring to be the most characteristic of national Armenian instruments.

See also

Diple

Irish flute

Kaval

Native American flute

Palendag

Piccolo

Pipe and tabor

Recorder

Tin whistle

Washint

References

Bibliography

Boehm, Theobald. 1964. ''The Flute and Flute-Playing in Acoustical, Technical, and Artistic Aspects'', translated by Dayton C. Miller, with a new introduction by Samuel Baron. New York: Dover Publications. ISBN 0-486-21259-9

Buchanan, Donna A. 2001. “Bulgaria §II: Traditional Music, 2: Characteristics of Pre-Socialist Musical Culture, 1800–1944, (iii): Instruments”. ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.

Crane, Frederick. 1972. ''Extant Medieval Musical Instruments: A Provisional Catalogue by Types''. Iowa City: University of Iowa Press. ISBN 0-87745-022-6

Galway, James. 1982. ''Flute''. Yehudi Menuhin Music Guides. London: Macdonald. ISBN 0356047113 (cloth); ISBN 0356047121 (pbk.) New York: Schirmer Books. ISBN 002871380X Reprinted 1990, London: Kahn & Averill London: Khan & Averill ISBN 1871082137

Komitas, Vardapet. 1994. ''Grakan nshkhark' Komitas Vardapeti beghun grch'ēn: npast mē Komitas Vardapeti srbadasman harts'in'', edited by Abel Oghlukian. Montreal: Ganatahayots' Aṛajnordarani "K'ristonēakan Usman ew Astuatsabanut'ean Kedron".

Pahlevanian, Alina. 2001. “Armenia §I: Folk Music, 3: Epics”. ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.

Phelan, James, ''The Complete Guide to the [Flute and Piccolo]'' (Burkart-Phelan, Inc., 2004)

Putnik, Edwin. 1970. ''The Art of Flute Playing''. Evanston, Illinois: Summy-Birchard Inc. Revised edition 1973, Princeton, New Jersey and Evanston, Illinois. ISBN 0874870771

Toff, Nancy. 1985. ''The Flute Book: A Complete Guide for Students and Performers''. New York: Charles's Scribners Sons. ISBN 0684182416 Newton Abbot: David & Charles. ISBN 0715387715 Second Edition 1996, New York: Oxford University Press. ISBN 0195105028

Wye, Trevor. 1988. ''Proper Flute Playing: A Companion to the Practice Books''. London: Novello. ISBN 0711984654

Maclagan,Susan J. "A Dictionary for the Modern Flutist", 2009, Lanham, Maryland, USA: Scarecrow Press. ISBN 978-0-8108-6711-6

External links

Creative Flute. You can find more than 1000 public domain free sheet music scores.

Flute4All. Information regarding flute techniques and technologies are found here.

Essay on the Jiahu flutes from the Heilbrunn Timeline of Art History at The Metropolitan Museum of Art

A selection of historic flutes from around the world at The Metropolitan Museum of Art

* Walking Stick Flute and Oboe, Georg Henrich Scherer, Butzbach, ca. 1750–57

* Glass flute, Claude Laurent, Paris, 1813

* Porcelain flute, Saxony, 1760–1790

* Pair of ivory flutes by Johann Wilhelm Oberlender, mid 18th century, Nuremberg

* Flute by Garion, Paris, ca. 1720–1740

nature.com New flutes document the earliest musical tradition in southwestern Germany

Flute acoustics Resources on flute acoustics from the University of New South Wales.

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name	James Galway
background	non_vocal_instrumentalist
birth name	James Galway
born	December 08, 1939Belfast, Northern Ireland
instrument	Flute, Tin whistle
genre	Classical, Pop
occupation	Orchestral, soloist, conductor
years active	1950s–''present''
associated acts	Philharmonia OrchestraSadler's Wells OperaCovent Garden OperaLondon Symphony OrchestraRoyal Philharmonic OrchestraBerlin Philharmonic OrchestraLondon Mozart PlayersThe Chieftains
notable instruments	}}

Sir James Galway OBE (born December 8, 1939) is a virtuoso flute player from Belfast, Northern Ireland, nicknamed "The Man With the Golden Flute". Following in the footsteps of Jean-Pierre Rampal, he became one of the first flute players to establish an international career as a soloist.

Education

Galway went to London as a teenager to study the flute. He studied at the Royal College of Music under John Francis and then at the Guildhall School of Music under Geoffrey Gilbert. He then studied at the Paris Conservatoire under Gaston Crunelle and Jean-Pierre Rampal and also privately with Marcel Moyse.

Career

After his education time he spent fifteen years as an orchestral player. Galway played with the Philharmonia Orchestra as it rose to prominence in the 1950s.

He then played with Sadler's Wells Opera, Covent Garden Opera, the London Symphony Orchestra and the Royal Philharmonic Orchestra. He auditioned for the Berlin Philharmonic Orchestra under Herbert von Karajan, and was principal flute of that orchestra from 1969 to 1975. To Karajan's surprise and dismay, after a period of some disagreement, Galway decided that he would leave to pursue a solo career.

In addition to his performances of the standard classical repertoire, he features contemporary music in his programmes, including new flute works commissioned by and for him by composers including David Amram, Malcolm Arnold, William Bolcom, John Corigliano, John Wolf Brennan, Dave Heath, Lowell Liebermann and Joaquín Rodrigo. The album ''James Galway and The Chieftains in Ireland'' by Galway and The Chieftains" reached number 32 in the UK Albums Chart in 1987.

In 1990, he was invited by Roger Waters to play at ''The Wall – Live in Berlin'' concert, held in Postdamer Platz; he played Pink Floyd's songs "Goodbye Blue Sky" and "Is There Anybody Out There?".

Galway still performs regularly and is one of the world's most well-known flute players. His recordings have sold over 30 million copies.

He is Principal Guest Conductor of the London Mozart Players, based at the Fairfield Halls, Croydon, South London.

Most recently, Galway has performed for the Academy Award-winning ensemble recording the soundtracks of Peter Jackson's ''Lord of the Rings'' film trilogy, composed by Howard Shore.

In June 2008, Galway was inducted into the Hollywood Bowl Hall of Fame along with Liza Minnelli and B. B. King.

He currently performs on Nagahara flutes, as well as some Muramatsu Flutes. He also has his own line of flutes, Galway Spirit Flutes.

Personal

In the 1970s Galway moved from Berlin to Lucerne, Switzerland, the home town of his second wife, Anna (Annie) Renggli, one of the daughters of a well-known local architect. They had twins and a son. In 1978 he recorded for her an instrumental version of John Denver's "Annie's Song". it peaked at #3 in the UK Singles Chart. a charitable organisation which supports young flute players, run by Liz Goodwin.

In 2003 he formed the Music Education Consortium together with Julian Lloyd Webber, Evelyn Glennie and Michael Kamen to pressure the British Government into providing better music education in schools.

Galway is a dedicated Christian who visits various types of Protestant churches while travelling (as long as they are not modern and "happy-clappy") and prays before his concert performances. He also wears a large cross necklace, about which he says, "It’s not jewelry. It’s something that reminds me of what I should be doing and how I should be behaving." At the same time, he has a strong sense of humor and a readiness to have fun with his music and in conversation with others.

He was made an OBE in 1977, and was knighted in 2001.

He is a National Patron of Delta Omicron, an international professional music fraternity.

Galway's nephew, Martin Galway, is a musician famous for his work on Commodore 64 computer game music in the 1980s.

James Galway has the eye condition nystagmus, and is a patron of the Nystagmus Network, a UK-based support group for people with the condition.

Publications

Galway, James. (1982). ''Flute''. Yehudi Menuhin Music Guides. London: Macdonald. ISBN 0356047113 (cloth); ISBN 0356047121 (pbk.) New York: Schirmer Books. ISBN 002871380X Reprinted 1990, London: Kahn & Averill London: Khan & Averill ISBN 1871082137

Media

Notes

External links

IMGArtists.com September 15, 2008. AllAboutJazz.com August 5, 2008.

Full Biography

Category:Alumni of the Royal College of Music Category:Alumni of the Guildhall School of Music and Drama Category:Easy listening music Category:Classical flautists from Northern Ireland Category:People from Belfast Category:Officers of the Order of the British Empire Category:Knights Bachelor Category:1939 births Category:Living people Category:Honorary Members of the Royal Academy of Music Category:Alumni of the Conservatoire de Paris Category:Flautists from Northern Ireland

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name	Catherine Grace "Cady" Coleman
type	NASA Astronaut
nationality	American
birth date	December 14, 1960
birth place	Charleston, South Carolina
occupation	Chemist
rank	Colonel, USAF, retired
selection	1992 NASA Group 14
time	180d 04h 00m
mission	STS-73, STS-93, Soyuz TMA-20, Expedition 26/27
insignia	}}

Catherine Grace "Cady" Coleman (born December 14, 1960) is an American chemist, a former United States Air Force officer, and a current NASA astronaut. She is a veteran of two Space Shuttle missions, and departed the International Space Station on May 23, 2011, as a crew member of Expedition 27 after logging 159 days in space.

Education

Coleman graduated from Wilbert Tucker Woodson High School, Fairfax, Virginia, in 1978; in 1978–1979 she was an exchange student at Røyken upper secondary school in Norway with the AFS Intercultural Programs. She received a bachelor of science degree in chemistry from the Massachusetts Institute of Technology in 1983, and a doctorate in polymer science and engineering from the University of Massachusetts Amherst in 1991. as a member of the US Air Force ROTC. She was a member of the intercollegiate crew and was a resident of Baker House.

Military career

After completing her regular education, Coleman joined the Air Force as a second lieutenant while continuing her graduate work for a Ph.D. at the University of Massachusetts Amherst. In 1988 she entered active duty at Wright-Patterson Air Force Base as a research chemist. During her work she participated as a surface analysis consultant on the NASA Long Duration Exposure Facility experiment. In 1991 she received her doctorate in polymer science and engineering. She retired from the Air Force in November 2009.

NASA career

Coleman was selected by NASA in 1992 to join the NASA Astronaut Corps. In 1995 she was a member of the STS-73 crew on the scientific mission USML-1 with experiments including biotechnology, combustion science and the physics of fluids. During the flight, she reported to Houston Mission Control that she had spotted an unidentified flying object. She also trained for the mission STS-83 to be the backup for Donald A. Thomas; however, as he recovered on time, she did not fly that mission. STS-93 was Coleman's second space flight in 1999. She was mission specialist in charge of deploying the Chandra X-ray Observatory and its Inertial Upper Stage out of the shuttle's cargo bay.

Coleman served as Chief of Robotics for the Astronaut Office, to include robotic arm operations and training for all Space Shuttle and International Space Station missions.

Coleman was assigned as a backup U.S. crew member for Expeditions 19, 20 and 21 and served as a backup crewmember for Expeditions 24 and 25 as part of her training for Expedition 26.

Coleman launched on December 15, 2010 (December 16 Baikonur time), aboard Soyuz TMA-20 to join the Expedition 26 mission aboard the International Space Station.

Spaceflight experience

STS-73 on Columbia (October 20 to November 5, 1995) was the second United States Microgravity Laboratory mission. The mission focused on materials science, biotechnology, combustion science, the physics of fluids, and numerous scientific experiments housed in the pressurized Spacelab module. In completing her first space flight, Coleman orbited the Earth 256 times, traveled over 6 million miles, and logged a total of 15 days, 21 hours, 52 minutes and 21 seconds in space.

STS-93 on Columbia (July 22 to 27, 1999) was a five-day mission during which Coleman was the lead mission specialist for the deployment of the Chandra X-Ray Observatory. Designed to conduct comprehensive studies of the universe, the telescope will enable scientists to study exotic phenomena such as exploding stars, quasars, and black holes. Mission duration was 118 hours and 50 minutes.

Soyuz TMA-20 / Expedition 26/27 (December 15, 2010, to May 23, 2011) was an extended duration mission to the International Space Station.

Personal

Coleman is married to glass artist Josh Simpson who lives in Massachusetts. They have one son. She is also part of the band Bandella, which also includes fellow NASA astronaut Steven Robinson, Canadian astronaut Chris Hadfield, and Micki Pettit (astronaut Don Pettit's wife). Coleman is a flute player and has taken several flutes with her to the ISS, including a pennywhistle from Paddy Moloney of The Chieftains, an old Irish flute from Matt Molloy of The Chieftains, and a flute from Ian Anderson of Jethro Tull. On February 15, 2011, she played one of the instruments live from orbit on National Public Radio. On April 12, 2011, she played live through video link for the audience of Jethro Tull's show in Russia in honour of the 50th anniversary of Gagarin's flight. She played the duet from orbit while Anderson played on the ground in Russia. On May 13 of that year, Coleman delivered a taped commencement address to the class of 2011 at the University of Massachusetts Amherst.

References

Category:1960 births Category:Living people Category:American astronauts Category:Aquanauts Category:Female astronauts Category:Massachusetts Institute of Technology alumni Category:People from Amherst, Massachusetts Category:People from Charleston, South Carolina Category:United States Air Force officers Category:University of Massachusetts Amherst alumni Category:Women in the United States Air Force

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