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Faculty Profiles

Jennie Brown

Jennie Brown, D.M.A.

Guest Lecturer (Flute)

On Faculty since 2002
Armerding 024


“The irrepressibly creative flutist and new music advocate celebrates the release of her new album…” Howard Reich, Chicago Tribune, November 8, 2019 (Giantess Innova 043)

“The tone Brown draws from her flute is meltingly beautiful—rounded, seamless through all registers, robust. ” Wynne Delacoma, Chicago Classical Review, November 2019 (Giantess release concert, Constellation Chicago)

Best Classical Albums of 2019, Howard Reich, Chicago Tribune, December 6, 2019 (Giantess Innova 043)

“The performances are flawless, and the recording quality excellent; Vox Balaenae is a timeless masterpiece.” Max Christie, TheWholeNote.com, May 5, 2020 (Vox Innova 040)

“As evidenced by this album, Jennie Oh Brown really understands Schwantner’s compositional intent, and her playing reflects the beauty, intensity, rawness, and virtuosity his music requires. She excels in changing characters rapidly, and her beautiful, expressive sound is perfectly suited to Schwantner’s emotional, lyrical, and acrobatic music.”  Jennifer Slaughter, National Flute Association Flutist Quarterly, Fall 2016 (Looking Back Innova 919)

A renowned flutist, collaborator, entrepreneur, and educator, Jennie Brown is an energizing and creative force in the field of music. Brown is an active performer throughout Chicago in solo, chamber, contemporary, and orchestral settings. 

As an Innova Recording Artist, her commercially released albums have been met with critical acclaim. Featuring the music of Carter Pann, Shulamit Ran, Augusta Read Thomas, Valerie Coleman, her recent solo album Giantess has won widespread acclaim. Shortly after its release, it was featured in Howard Reich'sBest Classical Albums of 2019, Chicago Tribune  December 8, 2019. Her latest project released in 2020, her trio album titled Vox with the Heare Ensemble featured Vox Balaenae by George Crumb and works by Stacy Garrop, Narong Prangcharoen, and Carter Pann. Crumb described her opening solo of Vox Balaenae as “perfect.” a conversation she will forever cherish. She released her debut solo album in 2015, “Looking Back: Flute Music of Joseph Schwantner,” to critical praise, including an Honorable Mention in New York Classical Review Critic George Grella’s “Best Classical Albums of 2015” list.

Brown is the Executive and Artistic Director of Ear Taxi Festival together with Curatorial Director Michael Lewanski and Managing Director Jessica Wolfe. With support from Helen Zell and grants from the Paul M. Angell Family Foundation, Elizabeth F. Cheney Foundation, Gaylord & Dorothy Donnelley Foundation, The Richard H. Driehaus Foundation, Irving Harris Foundation, the National Endowment for the Arts, and New Music USA, made possible by annual program support and/or endowment gifts from Helen F. Whitaker Fund and The Aaron Copland Fund for Music, Inc., Brown continues to lead the development of the $300k (and growing) budget to create this vibrant showcase of Chicago’s world-class new music community. With over 110 proposals received, Ear Taxi Festival will launch in October 2021 throughout Chicago with concerts, keynote speakers and panel discussions featuring leaders in the field, professional development workshops, and premieres of major commissions. Additionally, she launched the New Music Chicago Presents series at the Chicago Cultural Center in 2019, an ongoing monthly noon-time concert series at the Chicago Cultural Center which features music written since 2000 by living composers, as the first and ongoing recipient of the Department of Cultural Affairs and Special Events ArtSpace Grant. The series was given a major feature article by Howard Reich of the Chicago Tribune in February 2019 as well as an interview with Cindy Bravo on Comcast Community Network. 

Brown serves as Executive and Artistic Director of the chamber ensemble Picosa, which launched an ongoing four concert series in Allen Recital Hall at DePaul University’s Holtschneider Performance Center and at the Driehaus Museum in 2019-20. It will soon be launching a new series at The Epiphany Center of the Arts in 2021. The ensemble also holds residencies at Elmhurst University and North Central Colleges, and previously held a short-term residency at Roosevelt University. Entering its seventh season, the ensemble performs regularly on Chicago’s most prestigious concert series including Live from WFMT, Frequency Series at Constellation Chicago, and The Rush Hour Concert Series at St James Cathedral.  For Ear Taxi Festival 2016 (the inaugural city-wide celebration showcasing Chicago’s world-class new music), Brown performed as both a soloist and member of Picosa.  Brown has also performed with elite ensembles including recent performances with Eighth Blackbird, the Milwaukee Symphony Orchestra and the Lyric Opera Orchestra of Chicago. 

Brown served on faculty at Interharmony International Music Festival, Italy, in 2019 where she gave the European premiere of Carter Pann’s Giantess with pianist Geoffrey Burleson. She is founder, director and faculty member of Credo Flute where she works with Bonita Boyd (Eastman School of Music), Walfrid Kujala (Emeritus, Northwestern University and Chicago Symphony Orchestra), Elizabeth Ostling (Boston Symphony Orchestra), and Kelly Zimba (Toronto Symphony Orchestra).  She has performed in six National Flute Association conventions, and will give the premiere of the commissioned solo piece Sungji Hong’s Vidimus Stellam in 2021. She has performed numerous times on WFMT radio, and was interviewed by Narimon Safavi for WBEZ’s Worldview regarding her Midwest premiere of Valerie Coleman’s powerful Hair, Cloth, Thread for flute and percussion

Brown proudly serves on the board of Chamber Music America and New Music Chicago, organizations with a deep commitment to Inclusion, Diversity, Equity, and Access. She has recently published articles in the National Flute Association’s Flutist Quarterly, Flute Talk, and Chicago Flute Club’s Pipeline Magazine.  She is also coordinator of the National Flute Association’s Convention Performers Competition which features winning compositions of the Newly Published Music Competition. Dr. Brown has also performed in music festivals including Aspen, the Music Academy of the West, and Norfolk.  She remains indebted to her teachers Walfrid Kujala and Bonita Boyd and is a graduate of the Eastman School of Music (DMA, MM, Performers Certificate), Northwestern University (BM) and the Interlochen Arts Academy (HS). She serves on the faculty of Wheaton College (since 2002) and Elmhurst University (since 2012). She performs on a Brannen 10k flute and a 18k Lafin headjoint, Yamaha brass alto flute, a Keefe and Powell grenadilla piccolo, and a C. Palanca/Wenner Grenadilla Traverso.

Eastman School of Music
Student of Bonita Boyd
Doctor of Musical Arts, 1997
Master of Music with a Major of Performance and Literature, 1993
Performers Certificate, 1993

Northwestern University
Student of Walfrid Kujala and Richard Graef
Bachelor of Music, 1991

Interlochen Arts Academy
Student of Jacqueline Hofto
High School, 1987 

Summer Festivals Sample
Norfolk Music Festival, 1995
Music Academy of the West, 1990
Aspen Music Festival, 1989
Acadèmie International dètè de Nice, France, 1988
Royal Academy of Music, London, 1988

EAR TAXI FESTIVAL FESTIVAL, 2021 (Originally scheduled for 2020, but postponed in response to the Covid-19 pandemic)

Executive and Artistic Director, 2019 to present

Ear Taxi Festival, a presentation of New Music Chicago, is a service to community and art. It actively promotes Chicago as a global leader of extraordinary musical and cultural innovation. It is a vehicle by which audiences, performers, composers, and other music or sound practitioners engage with the multiplicity of styles and traditions that constitutes Chicago’s expansive musical identity in the 21st century. The leadership of Ear Taxi Festival and New Music Chicago believe it is the moral obligation of all arts organizations to do a detailed, good-faith, and in-depth accounting of all practices related to questions of diversity, equity, and inclusion and to engage with questions of the valuation of musical labor and consumption in a thoughtful and nuanced manner.

The theme of Ear Taxi Festival is HEAR CHICAGO

It is a call to engage with the vast multiplicity of styles and traditions that constitutes Chicago's expansive musical identity in the 21st century. It expresses our firm belief in the vitality of Chicago’s BIPOC (Black, Indigenous, People of Color) musicians as a significant part of the city’s complex history. As our society takes steps to heal from the multiple tragedies it is currently experiencing, as well as its centuries-long legacy of injustice, inequity, colonialism, and violence, it is most importantly an invitation to challenge, collaborate, and change together as artists and listeners. We remain committed to doing the steadfast work necessary to progress towards a just society.

Ear Taxi Festival takes place in October 2021 at venues throughout the city neighborhoods of Chicago. It seeks to: 

  • - highlight Chicago artists, and feature a five-day curated festival of multi-dimensional Chicago music—diverse in multiple senses, and drawing upon different histories, neighborhoods, and traditions.
  • - promote, support, and render accessible the wide variety of new and experimental musical practices that have been and are being created in the Chicagoland area.
  • - bring an international level of attention to Chicago’s great music by creating commissioning and performance opportunities, panel discussions with industry leaders, professional development workshops, educational events, and community support.
  • - provide artists with professional photos and high level, multi-camera, live-streamed video for artists’ ongoing use beyond the festival’s conclusion.  



Creator and Curator, 2018 to present


  •     The first recipient in 2019, and now a repeat recipient in 2020, of the Department of Cultural Affairs and Special Events ArtSpace Grant. 
  •     A monthly free, noon-time concert series at the Chicago Cultural Center’s Claudia Cassidy Theater presenting New Music Chicago members and guests performing 21st century music written by living composers.  Audiences filled the hall each month and ranged broadly in demographics, e.g. school groups, local professionals, tourists, new music fans. 
  •     Sample programs have included Music by Marc Mellits, Love Wounds by Christopher Cerrone performed by Chicago Fringe Opera and Latitude 49, and Eighth Blackbird presents the Eighth Blackbird Creative Lab.



Creator, Director, Faculty, 2015 - present

  1. credo-music.org/credo-flute
  2. PicosaMusic.com

Credo Flute was held virtually this year in response to the Covid-19 pandemic with approximately 60 flutists participating. Faculty included Bonita Boyd (Eastman School of Music), Walfrid Kujala (Emeritus, Northwestern University and Chicago Symphony Orchestra), Elizabeth Ostling (Boston Symphony Orchestra), and Kelly Zimba (Toronto Symphony Orchestra) and myself.

 Previously, Credo Flute was held on the campus of Elmhurst College. Faculty members have included Bonita Boyd (Eastman School of Music), Tadeu Coelho (North Carolina School of the Arts), Luke Fitzpatrick (Fort Wayne Philharmonic, Principal Flutist), Bob Hasty (Northwestern University), Walfrid Kujala (Professor Emeritus, Northwestern University), Mimi Tachouet (Lyric Opera, Principal Flutist), Karin Ursin (Chicago Philharmonic, piccolo), and Gary Woodward (Los Angeles Opera, Principal Flutist, Biola University and formerly University of Southern California).

Credo Flute has attracted top high school, undergraduate, and graduate students from schools including Juilliard, Rice, Oberlin, and Indiana University, as well as members of the Chicago Youth Symphony Orchestra, Boston Youth Orchestra, and students from around the globe. Ongoing support from major flute industry corporate sponsors came as a result of personal active recruiting. 

Credo Flute has also given student flutists the opportunity to perform with student string players from Credo Music Festival (Oberlin) in the 20th anniversary celebration orchestra in 2018 under the direction of Maestro John Nelson at Symphony Center in Chicago, Credo Chamber Orchestra in 2016 at the Chicago Cultural Center, and the complete Brandenburg Concerti in 2015 at both Symphony Center in Chicago, and at Severance Hall in Cleveland.  A noted part of the festival is the signature Service Day when participants use their music and labor to serve others at places such as the Elmhurst Memorial Center for Health, at Feed My Starving Children, and at Hesed House.



Founder, Artistic Director, Executive Director, Flutist, 2014 - present

Review: https://chicagoclassicalreview.com/2019/10/picosa-opens-new-depaul-series-with-a-varied-chamber-feast

Picosa is currently in its seventh season of operation with an ongoing concert series at DePaul University’s new Holtschneider Performance Center and Driehaus Museum as well as ongoing residencies at both Elmhurst University and North Central College.  Past residencies have included Mayslake Peabody Estate, Pianoforte Chicago, and a mini-residency at Roosevelt University’s Chicago College of Performing Arts.  Picosa has also performed on Chicago’s most elite chamber music concert series including Ear Taxi Festival, Thirsty Ears Festival, Live from WFMT with Kerry Frumkin, Rush Hour Concerts at St James Cathedral, and others. The ensemble embraces an eclectic approach to programming showcasing its signature symphonic sound.

Picosa’s educational outreach includes its Interludes Chamber Ensembles program featuring amateur ensembles of any age (youth through adult) in mini-performances prior to concerts. Picosa enjoys a partnership with Hesed House, a national model for ending homelessness “one person and one family at a time”.  www.HesedHouse.org.

Picosa is a 501(c)(3) not-for-profit organization and supported by grants from the Illinois Arts Council and individual funders.



Acqui Termi, Italy 2019

  1. Interharmony.com
  2. Private lessons, coaching ensemble sectionals, masterclasses
  3. European premiere of Carter Pann’s Giantess in collaboration with pianist Geoffrey Burleson


SAMPLE PERFORMING HIGHLIGHTS                                                                    


  • Multiple performances substituting for flutist Natalie Joachim, June 2019
  • Millennium Park, Pritzker Pavilion, Inuksuit, John Luther Adams, 2012

MILWAUKEE SYMPHONY ORCHESTRA, Marcus Center for the Performing Arts

  • Multiple performances as substitute second flute and piccolo, 2015 – 2019
  • Orchestra – Rising Stars, WFMT Broadcast, 2018
  • Banda – La Traviata, Verdi, 2013

LYRIC OPERA, Civic Opera House


  • October 21, 2019: Music in Chicago with Lisa Flynn
  • June 11, 2018: Live from WFMT with Kerry Frumkin featuring Picosa
  • October 7, 2016 Ear Taxi Festival featured soloist: On o Poem by Miho Nonaka: Harvard Square, Shawn Okpebholo
  • November 9, 2015: Music of Joseph Schwantner with Kuang-Hao Huang, piano

·  2014 Broadcast Crimson and Lace, Navona Records, Parma Recordings: Winter Seven by David Devasto

Performing at Wheaton College

  •     Numerous faculty solo and chamber faculty recitals including:
  •     As featured soloist in concerto performances

o   The inaugural concert in the Armerding Center for Music and the Arts - Recital Hall celebrating the opening of the building, Wheaton College Conservatory of Music, Nov 2, 2017

o   Traverso (Baroque Flute) Solo and Chamber Recitals, Wheaton College: February 19, 2019 and March 21, 2019

o   Carl Nielsen Flute Concerto, Feb 2020, Wheaton College Symphony Orchestra

o   Joan Tower Flute Concerto, 2015, Wheaton College Symphony Orchestra

o   Jacques Ibert Flute Concerto 2013, Wheaton College Symphonic Band

  •     Chicago New Arts Trio – Wheaton College faculty ensemble 2008 – 2014
  •     Private flute lessons for majors and non-majors, seminars and classes in solo and orchestral performance, pedagogy, and literature
  •     Flute Techniques for Music Education Majors, Music Appreciation, Music Theory, Aural Skills
  •     Wheaton Flutist Graduate School Acceptances, sample



o   Indiana University Jacobs School of Music (Performance)

o   New England Conservatory (Performance)

o   Northwestern University (Music Theory)

o   Peabody Conservatory at Johns Hopkins University (Performance)

o   University of Illinois – Urbana Champaign (Performance)

o   Yale University (Music History)

o   Birmingham Conservatoire, Birmingham City College, England (Performance)

o   Die Hochschule der Künste Bern (Bern University of the Arts), Switzerland (Performance)

o   Royal Conservatory of Scotland, Glasgow (Performance)

o   Royal Northern College, England (Performance)


  •     Sectionals for large ensembles
  •     Chamber ensembles and flute choirs


Contemporary Music, including commissioning, performing, and composers workshops

“Flutist Brown conceived this album as a tribute to her grandmothers, who must have been fearless souls, judging by the daring character of the music Brown, pianist Pann and others have recorded here. From Shulamit Ran’s dramatic “Birds of Paradise” to Pann’s profoundly lyrical “Melodies for Robert,” from Augusta Read Thomas’ serene “Please for Peace” to Pann’s epic “Giantess,” the album combines first-rate composition with startlingly strong performances.” Chicago Tribune, Best Classical Albums of 2019, by Howard Reich

“Oh Brown holds nothing back in this gripping, wondrous, and soulful album. Not only do these pieces serve as a lasting memory of Oh Brown’s grandmothers, but the collection creates a space for listeners to remember those in their own lives whose selflessness, altruism, struggle, and genuine love built the foundation upon which they now stand.” I care if you listen, Jillian DeGroot, 2019 

“The tone Brown draws from her flute is meltingly beautiful—rounded, seamless through all registers, robust. And beauty of tone was the focal point of pieces she performed Sunday from her new CD.” Chicago Classical Review, Winn Delacoma, 2019

“The irrepressibly creative flutist and new-music advocate celebrates the release of her new album, “Giantess,” which features music of Shulamit Ran, Carter Pann, Augusta Read Thomas and others. All of which is designed to express “profoundly human, soul-filled stories” Chicago Tribune, Howard Reich, 2019

“There are several gems for flutes and accompanying instruments; covering a wide range, this is a great introduction to some fantastic repertoire.” American Record Guide

“The album’s success is evidenced by Brown’s close collaboration with esteemed contemporary composers, the striking musical array, and her personal connection and dedication to the project.” Chicago Flute Club Pipeline Magazine, Laura Clapper, 2019

“Giantess still signed by Carter Pann, there is a sort of challenge between the mighty chord passages of the piano and the rhapsodic peregrinations of the flute; a duel in which, once more, the extraordinary performers emerge from the winners, called to explore a variety of timbres and registers with apparent, and admirable, ease.” (translated from Italian) Kathodik, Filippo Focosi, 2019 

[Vox] “…is an album of music that plays with the emotions and offers reflection and contemplation, where the superb talents of the musicians are almost forgotten in the sheer beauty of the music.” Art and Culture Maven, Anya Wassenberg, 2020

“And so ends a program literally brimming over with meaningful music. The Crumb work revels in benchmark poignancy; the three accompanying works stand out as worthwhile and worthy counterparts in this high-watermark program. The Heare Ensemble triumphs. The music wins the day from beginning to end. Hear this, by all means. It reminds us how central Crumb remains in our time, and happily how his legacy is very alive.” Gapplegate Classical-Modern Music Review, Gregory Applegate, 2020

“The performances are flawless, and the recording quality excellent; Vox Balaenae is a timeless masterpiece.” The Whole Note, Andrew Timar, 2020

” The quality of execution and interpretation by the Heare Ensemble is truly remarkable and gives a special and intense touch to all the compositions.” (translated from Italian) Kathodik, Luciano Feliciani, 2020

“…a primal wildness establishes itself early in the vocalizations that accompany Brown’s flute phrases in “Vocalise (…for the beginning of time)… Listening to Vox Balaenae in 2020, one can’t help but regard Crumb as prescient for anticipating environmentally related works by figures such as John Luther Adams and Ingram Marshall.” Textura, 2020

“As evidenced by this album, Jennie Oh Brown really understands Schwantner’s compositional intent, and her playing reflects the beauty, intensity, rawness, and virtuosity his music requires. She excels in changing characters rapidly, and her beautiful, expressive sound is perfectly suited to Schwantner’s emotional, lyrical, and acrobatic music.” Jennifer Slaughter, National Flute Association, Flutists Quarterly, Fall 2016

“Superlative performances…”  Christian Carey, Sequenza 21, 2015

Honorable Mention, Best Classical Music Recordings of 2015 , George Grella, The Big City Blog, 2016

“Brown plays Schwantner with firm technique and clear soaring sound. She understands the music and plays with conviction and joy!” Barbara Siesel, The Flute View, 2015.

“Contemporary pieces ranging from melodic, ethereal to forceful. All interesting!” WRUV, Burlington, VT, 2015.

“In Looking Back, for flute and piano, the outer movements affect a rhythmic pulse, constant and gradually changing, which brings a dynamism that does not obscure, but rather is combined with catchy melodies, subtly tinged with melancholy, intertwined with balanced and pungent interplay of the two musicians. In the slow middle movement the flutist sings with an even voice, a mournful and virtuosic singing.” (translated from Italian) Filippo Focosi, Kathodik, 201

“Brown, the flute professor at Elmhurst College, is to be applauded for assembling these musicians to beautifully perform the works of Schwantner.  If you are looking for new repertoire, this CD offers several excellent choices.”  Patricia George, Flute Talk, 2016.

“The musicians care about the music, and they put a lot of energy and expression into it.” Stephen Estep, American Record Guide, 2016.

Personal Website




The most common question I get from parents of Wheaton College prospective students is, “Can my son/daughter make a living in music?”     

My most common response to this question is, “I have no intentions of graduating starving artists.”    

The truth about the career field of music is that it is fiercely competitive and truly daunting. I hear this concern loud and clear, and I live it daily. However, to put this into proper perspective, I challenge anyone to make it through a single day without hearing any music. Just give it a try! It is impossible, unless you sequester yourself alone in the middle of the wilderness, beautiful though that may be. Whether you’re hearing a school choir concert, listening to “bumper music” between news stories, or experiencing the drama of a movie soundtrack, there are thousands of people behind every note you hear each and every day. THIS is the career field of music. Some of these professionals followed the traditional trajectory of practicing hard and creating a life on stage. Many others moved into equally exciting corners of the music field including teaching, sound production, arts management, and the now developing fields of concert live-streaming, social media marketing, and more. Yet other musicians took their non-musical passions and combined them with their love of music to create entrepreneurial music ventures like Credo Music, The Sphinx Organization, Music Kitchen, and innumerable others. An undergraduate music degree serves so many possible ambitions and can be a catalyst for many different career paths in and outside the field of music. 

My teaching moves in three circles to give my students the tools to move forward in their careers: Private Teaching, Resounding Art, and Career Conservatory Coachings. My private teaching (weekly lessons) addresses all the needs of the flutist through the development of technical skills, growth of mature artistry, and study of great standard repertoire. Resounding Art is the workshops and lectures that I offer to help students to develop their own unique vision for their art and career. Career Conservatory Coachings are one-on-one and small group sessions teaching specific professional skills necessary for all musicians in today’s marketplace, updating and complementing the traditional undergraduate conservatory and university degree program. The creativity, discipline, and professionalism I require of all my students give them the preparation they need to excel in any career field, but it also gives them the courage, confidence, and strategies to launch their careers as professional musicians.  

The over-arching vision I have overall my endeavors is my commitment to developing a career that reflects both my faith and art, in that order.  

“For the LORD your God is living among you. He is a mighty savior. He will take delight in you with gladness. With his love, he will calm all your fears. He will rejoice over you with joyful songs.” Zephaniah 3:17 (NLT)  

Our flute studio theme verse is a reminder that the Lord expresses His rejoicing through songs. It serves as a constant encouragement for us to remain wholly committed to dedicating our music specifically to God’s glory, regardless of the path we take. Wheaton College flutists have continued their studies at the country’s top graduate school programs and abroad, and they continue to share their faith and music through their work in virtually every corner of our field. I’m inspired by them all, and I am very fortunate to count them now as both wonderful friends and colleagues. 

“..,be filled with the Spirit, speaking to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord, always giving thanks to God the Father for everything, in the name of our Lord Jesus Christ.”

‭‭Ephesians‬ ‭5:18-20‬ ‭NIV‬‬



Board of Directors, 2020 – 2023 with option to continue through 2026


2005 – present


  •     Washington DC, 2021, postponement of Dallas, 2020
  •     Orlando, 2018

o   Premiere of Sungji Hong’s Vidimus Stellam, the commissioned piece for the NFA Young Artists Competition

o   “Composers in Performance” -  performing Giantess by Carter Pann with the composer

  •     Minneapolis, 2017
  •     Washington, D.C., 2015

o   "The Power of One: Diverse Solo Flute Works from the Last Two Decades" – performing Shawn Okpebholo’s On a Poem by Miho Nonaka: Harvard Square

o   "Art and Technology"​ – performing the premiere of Jonathon Kirk’s Wraith​ for flute and electronics with Jonathon Kirk

  •     Chicago, 2014
  •     Las Vegas, 2012

o   "Chamber Music Plus" - performing Shulamit Ran's Mirage for flute, clarinet, violin, cello, and piano with Picosa.

o   "The Chicago Flute Club: Four Pieces for a Quarter Century" - performing Lita Grier’s Echoes over Time for Flute Quartet with Janice MacDonald, Karin Ursin, and Susan Saylor.

o   "A Chamber Music Mixture #2" - performing Joseph Schwantner's Looking Back for flute and piano with Jeff Panko.

o   “Tribute Concert in Honor of Bonita Boyd's Lifetime Achievement Award” - performing Joseph Schwantner's Silver Halo with Mihoko Watanabe, Valerie Watts, and Jennifer Parker Harley. 

  •     Anaheim, 2010
  •     Convention Performers Competition, Coordinator 2019 – 2023
  •     Coordinator of the Chicago premiere of the Julia Wolfe Flute Choir commissioned piece, 2020. (postponed)
  •     Cultural Outreach Committee, Mentor 2015 - present
  •     Volunteer Coordinator, NFA Annual Convention, Chicago, 2014
  •     Tribute Concert in Honor of Bonita Boyd's Lifetime Achievement Award, Concert Coordinator and Performer, Las Vegas, 2012
  •     Young Artist Competition, Preliminary and Final Round Adjudicator, Anaheim, 2010

o   "Generation X Showcase" - performing Lowell Lieberman's Sonata for Flute and Piano with Jennifer Blyth. 




2002 – present


  •     Co-chair of the 25th Anniversary Commissioning Project (solo commission): Secured a new commission for flute and piano in celebration of the 25th anniversary of the Chicago Flute Club by Pulitzer Prize winning composer Shulamit Ran. 
  •     Chair, President, Vice President, 2003 - 2006
  •     Director and Coordinator of the Chamber Music Competition, 2002-2003



  •     Featured artist performing the opening concert of the 2021-2022 season. This concert is a postponement of the 2020-2021 season and will be confirmed pending the affirmation of Governor Pritzker and Mayor Lori Lightfoot on such public events. A virtual workshop will be offered in 2020 on the entrepreneurial career.
  •     Performed Joseph Schwantner’s Looking Back and Black Anemones with pianist Kuang-Hao Huang for the Chicago Flute Club’s 25th Anniversary Celebration, 2015
  •     Performed Lita Grier’s Echoes Over Time for the Chicago Flute Club’s 25th anniversary commemorative concert at the National Flute Association annual convention in Chicago, Illinois, 2014
  •     Performed the world premiere of Lita Grier’s Echoes Over Time for the Chicago Flute Club’s 20th anniversary concert, 2009.  Echoes Over Time was commissioned in celebration of the Chicago Flute Club's 20th anniversary.



2016 – Present

Secretary (2016 – 2019) and Executive Board Member



Current Advisory Board Member



Panel Discussion Contributor, 2017

 “The Diversified Life” – A discussion about entrepreneurship in art, music, and media



Current Member

Numerous performances at Fourth Presbyterian Church, Chicago



Current Member

Photo of a magazine article about Jennie Oh Brown

Photo of a magazine article about Jennie Oh Brown

Photo of a magazine article about Jennie Oh BrownPhoto of a magazine article about Jennie Oh Brown


  •     Ask the Pro: Coping with Nerves, May 2018
  •     Composing for Flute: Thoughts from Jennifer Higdon, Katherine Hoover, Carter Pann, December 2017.  An entertaining chat with the composers about their personal journeys and connection to the flute.
  •     An Interview with Shulamit Ran, January 2015.  An article about the music of Shulamit Ran in celebration of her commission Birds of Paradise commemorating the 25th anniversary of the Chicago Flute Club.



  •     Collaborative Play: Flutist-Composer Commissions, June 2015.  An article featuring three commissions of flute and piccolo concerti written since 2013: Will O' the Wisps: A Tone Poem for Piccolo and Orchestra by Gabriela Lena Frank written for Mary Kay Fink, Cleveland Orchestra; Concerto for Flute by Behzad Ranjbaran written for Jeffrey Khaner, Philadelphia Orchestra; Concerto for Flute by Huw Watkins written for Adam Walker, London Symphony Orchestra.
  •     An Interview with Joseph Schwantner: The Composer at Work, March 2016
  •     The NFA Comes to Chicago, June 2014


·      Chicago’s Giantess of Flute (Chicago Flute Club Board Member Gianna Capobianco interviewed me about my work), Summer 2020

·      Life Balance (Chicago Flute Club Member and Pipeline Editor Julie Marcotte interviewed me about the joys and challenges of balancing family and work), April 2018

·      Behind the Scenes - Creating the album Music of Joseph Schwantner, March 2016.  With an emphasis on the community of the Chicago Flute Club, this article explores the process of creating my latest solo CD.

·      Chicago Flute Club Commissions: Celebrating the Chicago Flute Club’s 25 Years, June 2014

Website: JennieBrownFlute.com

Facebook - @JennieBrownFlute

Twitter - @JennieBrownFlute

Instagram - @JennieBrownFlute