Adolphus Hailstork (b. 1941 in Rochester, New York) studied violin, piano, voice and organ after his mother introduced him to classical music. In 1959 he graduated from Albany High School where he began composing. Recognizing his desire to establish an African-American voice in classical music, he went on to study music theory and composition with Mark Fax at Howard University in Washington, D.C., where in 1963 he received his bachelor’s degree. He furthered his studies in France, studying piano and composition at the American Conservatory in Fontainebleau under Nadia Boulanger, and in 1965 and 1966 obtained his second bachelor's degree  and master’s degree in music at the Manhattan School of Music. He gained attention when the Baltimore Symphony Orchestra performed his master’s thesis composition in 1966. As a faculty member at Michigan State University, he continued his studies in composition and earned his Ph.D. degree in 1971 and went on to become composer-in-residence at Norfolk State University. He currently is a professor of music and eminent scholar at Old Dominion University in Virginia.

Hailstork has composed numerous works for large ensembles, many of which have been performed by major symphony orchestras, as well as  solo pieces and chamber music for a variety of instruments. The Flute Set for solo flute is gaining popularity in the contemporary flute repertoire. It explores various styles and takes the listener on a special journey revealing what all the instrument can offer. The first movement, Moderato con anima, incorporates a subtle jazz-like style with the accidentals, the syncopated rhythms, and the trills. The second movement, Vivo, is true to its name, very lively and light, with the theme outlined in both, lower and higher notes. The third movement, Lento e teneramente, the only slow movement, develops a tender melodic line, resembling very much a song without lyrics. The fourth movement, Allegretto, has features of a dance, develops fast, and not without irony ends on a strong, low note. Interestingly, though different in character and evoking contrasting moods, all movements are composed in minor keys: the first in F minor, the second in C minor, the third in B-flat minor, and the fourth in D minor. All are also ending on the tonic, offering listeners a safe return from at times unanticipated paths of an exquisite and memorable journey.